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t 


PORTRAIT  OF  A LADY.-CJOHN  SINGLETON  COPLEY.] 


AET  IN  AMEEICA 


A CRITICAL  AND  HISTORICAL  SKETCH 


BY 

S.  G.  W.  BENJAMIN 

AUTHOR  OF  “CONTEMPORARY  ART  IN  EUROPE”  “WHAT  IS  ART”  &c. 


ILLUSTRATED 


NEW  YORK 

HARPER  it  r>ROTlTERS,  rUP>LT?;nERS 

F R A N K IE  N SQUARE 
1880 


Entered  according  to  Act  of  Congress,  in  the  year  1879',  by 
HARPER  & BROTHERS, 

In  the  Office  of  the  Liljrarian  of  Congress,  at  Washington. 


ERRATUM. 

The  cut  on  page  28,  attributed  to  Rembrandt  Beale,  should  be  credited  to 
John  T.  Peele. 


PREFACE. 


The  aim  of  tins  book  has  been  to  give  a historical  outline  of  the 
o;rowtli  of  the  arts  in  America.  But  while  this  has  been  the  dominatiiio' 
idea  in  the  mind  of  the  writer,  criticism  has  necessarily  entered,  more  or 
less,  into  the  preparation  of  the  work,  since  only  by  weighing  the  differ- 
ences or  the  comparative  merits  of  those  artists  who  seemed  best  to  illus- 
trate the  various  phases  of  American  art  has  it  been  possible  to  trace  its 
progress  from  one  step  to  another. 

It  is  from  no  lack  of  appreciation  of  their  talents  that  the  author  has 
apparently  neglected  mention  of  the  American  artists  resident  in  foreign 
capitals  — like  Bridgman,  Dnveneck,  Wight,  Aeal,  Bacon,  Benson,  Ernest 
Barton,  Millet,  Whistler,  Dana,  Blashfield,  Miss  Gardner,  Miss  Conant,  and 
many  others  who  have  done  credit  to  American  aesthetic  culture.  But 
it  was  necessary  to  draw  the  line  somewhere ; and  to  discuss  what  our 
artists  are  painting  abroad  would  have  at  once  enlarged  the  scope  of  the 
work  beyond  the  limits  of  the  plan  adopted.  An  exception  has  been 
made  in  the  case  of  our  sculptors,  because  they  have  so  uniformly  lived 
and  wrought  in  Europe,  and  so  largo  a proportion  of  them  are  still  resi- 
dent there,  that,  were  we  to  confine  this  branch  of  the  subject  only  to 
the  sculptors  now  actually  in  America,  there  would  be  little  left  to  say 
about  tlieir  department  of  our  arts. 

The  author  takes  this  occasion  cordially  to  thank  the  artists  and  ama- 
teurs who  have  kindly  permitted  copies  of  their  paintings  and  drawings 
to  be  engraved  for  this  volume. 


CONTENTS. 


I. 

Page 

EAllLY  AMERICAN  ART ....  13 

II. 

AMERICAN  PAINTERS  (1828-1878) . . o » . . 39 

III. 

AMERICAN  PAINTERS  (1828-1878) 66 

IV. 

AMERICAN  PAINTERS  (1828-1878) 97 

V. 

SCULPTURE  IN  AMERICA  134 

AM. 


PRESENT  TENDENCIES  OF  AMERICAN  ART 


164 


ILLUSTRATIONS 


Subject. 

Portrait  of  a Lady 

Family  of  Bishop  Berkeley 

Death  on  the  Pale  Horse 

Death  of  Montgomery  

General  Knox 

“Beggar’s  Opera” 

“Babes  in  the  Wood” 

Fanny  Kemble 

Ariadne  

The  Hours 

Jeremiah 

Dying  Hercules 

“ Mumble  the  Peg” 

Portrait  of  Parke  Godwin 

Portrait  of  Fletcher  Harper 

An  Ideal  Head 

The  Judgment  of  Paris 

Miranda 

A Surprise 

Taking  the  Veil 

Desolation.  From  “ The  Course  of  Empire 

A Study  from  Nature 

Noon  by  the  Sea-siiore. — Beverly  Beach  . 
Altorf,  Birth-place  of  William  Tell  . . 

Brook  in  the  Woods 

Landscape  Composition  . . ., 

“ The  Vasty  Deep” 

High  Torn,  Rockland  Lake 

The  Parsonage 

Landscape  with  Cattle  . 

Sunset  on  the  Hudson 

A Composition 

A Winter  Scene 

Ship  of  “The  Ancient  Mariner”  . . . . 

“ Whoo  !” 

Lafayette  in  Prison 

Portrait  of  a Lady 

The  Refuge 

Cartoon  Sketch:  (,’hrist  and  Nicodemus 

View  on  the  Kern  ILver 

The  Yosemite 

The  Bathers 

Landscape  

County  Kerry 

The  Adirondacks 


Artist. 

John  Singleton  Copley 
John  Srnybert  .... 
Benjamin  West  .... 
Jolcn  Trambnll  .... 
Gilbert  Stuart  .... 
G.  Stuart  JSfeu'ton  . 
Rembrandt  Peale  . . . 

Thomas  Sully  .... 
Jolm  Vanderlyn 
E.  G.  Mcdbone  .... 
Washington  Allston  . . 

Samuel  F.  B.  Morse  . . 

Henry  htman  .... 
Thomas  Le  Clear  . . . 

C.  L.  Elliott 

G.  A.  Baker 

Henry  Peters  Grey  . . 

Daniel  Huntington 
William  Sidney  Mount  . 

Robert  Weir 

Thomas  Cole  . . . . 

A.  B.  Durand  .... 
J.  F.  Ke'usett  .... 
George  X.  Brown  . 
Worthington  Whittredge  . 
R.  W.  Hubbard .... 
William  T.  Richards  . . 

Jasper  F.  Cropjsey  . . . 

A.  F.  Bellows  . . . . 

James  Hart 

Sandford  R.  Gifford  . 
Frederick  E.  Church  . . 

Ixjuis  R.  Mignot  . 

James  Hamilton 
William  If.  Beard  . 

E.  Lvutze 

WilVuon  Page  . . . . 

BJlihu  Vedder  . . . . 

John  L((farge  .... 

A.  Iiierst((dt 

f'homas  Hill 

Thomas  Moran  .... 
Jervis  MJhitcc  . . . . 

A.  If  Wyant  . . . . 

Jfomer  Martin  . . . . 


Page 

Frontispiece 

. . . 16 
. . . 19 

. . . ‘23 

. . . 25 

...  27 
. . . 28 
...  29 

...  30 

...  32 

...  34 

. . . 35 

...  40 

...  43 

. . . 45 

...  48 

. . . 50 

...  53 

...  55 

...  57 
...  59 

...  61 
...  63 

...  64 

...  67 

...  70 

...  72 

...  74 

. . . 75 

...  77 
. . . 80 
. . . 82 
...  84 

. . . 85 

...  87 
. . . 89 

...  91 

. . . 93 

. . . 95 

. . . 99 

. . . 100 
. . . K»1 

. . . 104 

. . . 105 

. . . 107 


10 


ILLUSTRATIONS. 


Subject. 


Aktist. 


A Landscape  . . . . 

Ship  Ashore  . . . . 

A Foggy  Morning  . . 

A ]\Iarine 

Arguing  the  Question  . 

The  Rose 

Dress  Parade  . . . . 

A Red-time  Story  . . 

The  Mother  . . . . 

Sail-boat 


J.  W.  Casilear  . 
M.  F.  H.  De  Haas 
W.  E.  Norton  , 
Arthur  Quartley 
T.  IF.  Wood  . . 

B.  F.  Mayer . 

J.  6r.  Broum  . 

S.  J.  Guy 
Fastninn  Johnson 
Winslow  Homer. 


The  Scout  

On  the  Old  Sod  

“ A !Matin  Song  ” 

Study  op  a Dog  

Dost  in  the  Snow 

Rye  before  the  Fall . 

Orpheus  

Columbus  before  the  Council.  From  the  Bronze  Door 

OF  THE  Capitol  at  Washington 

The  Chost  in  “Hamlet” 

(Jeorge  Washington 

Medea 

The  Promised  Land 

Latona  and  her  Infants  

Zenobia 


Wordsworth  Thompson 
William  Mag  rath  . 
Fidelia  Bridges  .... 
F'rank  Rogers  . . . . 

A.  F.  Tait 

Hiram  Rowers  . . . 
Thomas  Crcuoford  . 


Randolph  Rogers 


Thomas  R.  Gould 

J.  Q.  A.  ]lard 

jniliean  Wet  more  Story  . 
Franklin  Simmons  . . . . 


IF.  H.  Rbiehart 


Harriet  Jlosrner 


Evening 

Bust  of  Wmlliam  Page 

Abraham  Pierson 

The  Charity  I'atient 

The  ^VHIRLWIND 

Adoration  of  the  Cross  by  Angels.  St.  Thomas's 

Church,  New  York 

Thomas  .Jefferson’s  Idea  of  a Monument 

The  Mowing 

Birds  in  the  Forest 

Representing  the  Manner  of  Peter’s  Courtship  . . 

Some  Art  Connoisseurs 

Washington  opening  the  Bali 

Museum  of  Fine  Arts,  Boston 

The  Astonished  Abbe 

A (Child’s  Portrait 

A Bit  of  Venice 

The  Old  Orchard 

A Landscape 

La  Marguerette — the  Daisy 

Moonlight 

Baying  a (Jood  Time 

Southampton,  Long  Island 

A Study  

The  Burgomaster 

Burial  of  the  Dead  Bird 

The  Apprentice 

The  Professor 

The  Goose-herd 

A Spanish  Lady 

Study  of  a Boy’s  Head 


F.  1).  Ralrner  . . . . 
William  R.  O'  Donovan  . 
Launt  Thompson  . 

John  Rogers 

J.  S.  Hartley  . . . . 


Augustus  St.  Gaudens 


Alfred,  Fredericks 

AUss  Jessie  Ctirtis 

Howard  Pyle 

Jl"  Hamilton  Gibson  . . . . 

0.  S.  Reinhart 


E.  M.  Abbey 

B.  C.  Porter 

Samuel  Colman  .... 
R.  Swain  Gijford  . . . . 

George  Inness 

William  AT.  Hunt  . . . . 

John  J.  Enneking  . . . . 

Inmis  C.  Tiffany  . . . . 

C.  II.  Aliller 

Frederick  Diehnan 

II.  Aluhrman 

J.  Alden  Wier 

William  AI.  Chase  . . . . 

Thomas  Eakins 

Wedter  Shirlaiv 

Alary  S.  Cassatt  . . . . 

B^.  Sartain 


Page 
. 109 
. Ill 
. 112 
. 114 
. 116 
. 118 
. 120 
. 121 
. 123 
. 124 
. 126 
. 12Y 
. 129 
. 130 
. 132 
. 135 
. 137 

. 139 

. 141 
. 143 
. 146 
. 147 
. 150 
. 152 
. 153 
. 155 
. 157 
. 158 
. 159 

. 160 

. 162 
. 165 
. 169 
. 171 
. 173 
. 175 
. 178 
. 181 
. 184 
. 185 
. 187 
. 188 
. 189 
. 191 
. 192 
. 193 
. 195 
. 197 
. 200 
. 201 
. 204 
. 205 
. 208 
. 209 


AET  IN  AMEEICA 


ART  IN  AMERICA. 


I. 

EARLY  AAIEEICAN  ART, 

The  art  of  a nation  is  the  result  of  centuries  of  growth ; its  crowning 
excellence  does  not  come  except  when  maturity  and  repose  offer  the 
occasion  for  its  development.  But  while,  therefore,  it  is  yet  too  soon  to 
look  for  a great  school  of  art  in  America,  the  time  has  perhaps  arrived 
to  note  some  of  the  preliminary  phases  of  the  art  which,  we  have  reason 
to  hope,  is  to  dawn  upon  the  country  before  long. 

As  the  heirs  of  all  the  ages,  we  had  a'riglit  to  expect  that  our  intel- 
lectual activity  would  demand  art  expression ; while  the  first  efforts  would 
naturally  be  imitative  rather  than  original.  The  individuality  which  finds 
vent  in  the  utterance  of  truth  under  new  conditions  is  not  full}^  reached 
until  youth  gives  place  to  the  vigorous  self-assertion  of  a manhood  con- 
scious of  its  resources  and  power.  Such  we  find  to  have  been  the  case 
in  the  rise  of  the  fine  arts  in  this  countiy,  which  up  to  this  time  have  been 
rather  an  echo  of  the  art  of  the  lands  from  which  our  ancestors  came, 
than  distinctively  original.  Our  art  has  been  the  result  of  affectionate 
remembrance  of  foreign  achievement  more  than  of  independent  obser- 
vation of  nature;  and  while  the  number  of  artists  has  been  sufficiently 
large,  very  few  of  them  stand  forth  as  representatives  or  types  of  novel 
methods  and  ideas;  and  those  few,  coming  before  their  time,  have  met 
with  little  response  in  the  community,  and  their  influence  has  been  gener- 
ally local  and  moderate,  leading  to  the  founding  of  nothing  like  a school 
excej)t  in  one  or  two  isolated  cases.  But  many  of  them,  es[)ccially  in  the 
first  period  of  our  art,  have  shared  the  strong,  active  character  of  their  time; 


14 


ART  IN  AMERICA. 


and,  like  the  lieroes  of  the  Eevolntion,  presented  sturdy  traits  of  character. 
And  tlms,  while  the  society  in  whicli  they  moved  was  not  sufficiently  ad- 
vanced to  appreciate  the  quality  of  their  art,  they  were  yet  able  to  stamp 
their  names  indelibly  upon  the  pages  of  our  history.  But  within  the  last 
few  years  the  popular  interest  in  art  has  grown  so  rapidly  in  the  countrv 
— as  indicated  by  the  establishment  of  numerous  art  sclmols  and  acade- 
mies, art  galleries,  and  publications  treating  exclusively  of  art  subjects,  to- 
gether with  many  other  significant  proofs  of  concern  in  the  subject — that 
it  seems  safe  to  assume  that  the  first  preparatory  period  of  American  art, 
so  brilliant  in  many  respects,  is  about  closing,  and  that  we  are  now  on  the 
thresliold  of  another,  although  it  is  only  scarcely  tliree  centuries  since  the 
first  English  colonists  landed  on  our  shores.  The  first  professional  artist 
of  whom  there  seems  to  be  any  record  in  our  colonial  liistory  was  possessor 
of  a title  tliat  does  not  often  fall  to  the  lot  of  the  artist : he  was  a deacon. 
This  fact  indicates  that  Deacon  Shem  Drowne,  of  Boston  town,  was  not 
only  a cunning  artificer  in  metals  and  wood-carving,  as  the  old  chronicles 
speak  of  him,  but  also  a man  addicted  to  none  of  the  small  vices  that 
are  traditionally  connected  with  the  artistic  career;  for  people  were  very 
proper  in  that  vicinage  in  those  days  of  austere  virtue  and  primness,  and 
deacons  were  esteemed  the  very  salt  of  the  earth. 

During  the  first  century  of  our  colonial  existence  local  painters,  often 
scarcely  deserving  the  name,  are  also  known  to  have  gained  a precarious 
livelihood  by  taking  meagi’e  portraits  of  the  worthies  of  the  period,  in 
black  and  white  or  in  color.  We  should  know  this  to  have  been  the  fact 
by  the  portraits— quaint,  and  often  rude  and  awkward — which  have  come 
down  to  us,  without  anything  about  them  to  indicate  who  the  artists  could 
have  been  who  painted  them.  Occasionally  a suggestion  of  talent  is 
evident  in  those  canvases  from  which  the  stiff  ruffles  and  bands  of  the 
Puritans  stare  forth  at  us.  Cotton  IMather  also  alludes  to  a certain  artist 
whom  he  speaks  of  as  a limner.  But  in  those  times  there  was,  however, 
at  best  no  art  in  this  country,  excei>t  what  was  brought  over  occasionally 
in  the  form  of  family  portraits,  painted  by  Yandyck,  Kembrandt,  Lely,  or 
Kneller.  These  precious  heirlooms,  scarcely  appreciated  by  the  stern  the- 
ologians of  the  time,  were,  however,  not  without  value  in  advancing  the 
cause  of  civilization  among  the  wilds  of  the  Western  world.  Uncon- 
sciously the  minds  of  coming  generations  were  infiuenced  and  moulded 
by  tliese  reminders  of  the  great  art  of  other  lands  and  ages.  Ko  human 


EARLY  AMERICAN  ART. 


15 


effort  is  wasted ; somewhere,  at  some  time,  it  appears,  as  the  seed  sown  in 
October  comes  forth  anew  in  April,  qnichened  into  other  forms,  to  sustain 
life  under  fresh  conditions. 

The  first  painter  in  America  of  any  decided  ability  whose  name  has 
survived  to  this  day  was  John  Watson,  who  executed  portraits  in  Phila- 
delphia in  1715.  He  was  a Scotchman.  It  is  to  another  Scotchman,  who 
married  and  identified  himself  with  the  rising  fortunes  of  the  colonies, 
that  we  are  perhaps  able  to  assign  the  first  distinct  and  decided  art  im- 
pulse in  this  country.  And  for  this  we  are  directly  indebted  to  Bishop 
Berkeley,  whose  sagacious  eye  penetrated  so  far  through  the  mists  of 
futurity,  and  realized  the  coming  greatness  of  the  land. 

Berkeley  is  associated  with  the  literature  and  arts  of  America  in  sev- 
eral ways.  He  aided  the  advance  of  letters  by  a grant  of  books  to  A ale 
College,  and  by  founding  the  nucleus  of  what  later  became  the  Bedwood 
Library  at  Newport;  thus  indirectly  suggesting  architectural  beauty  to  a 
people  without  examples  of  it,  for  in  1750  a bnilding  was  erected  for 
the  library  that  sprang  from  his  benefactions.  The  design  was  obtained 
from  Yanbrngh,  one  of  the  greatest  architects  of  modern  times;  and  al- 
though the  little  library  is  constructed  only  of  wood  and  mortar,  its  plan 
is  so  pleasing,  tasteful,  and  harmonious,  that  it  long  remained  the  most 
graceful  structure  in  the  colonies;  and  even  at  this  day  is  scarcely  ecpial- 
led  on  the  continent  as  a work  of  art  by  many  far  more  costly  and 
ambitious  constj'uctions  after  the  Benaissance  order.  And,  finally,  we 
owe  to  Bishop  Berkeley  the  most  notable  impulse  which  the  dawning  arts 
received  in  this  country. .when  he  induced  John  Smybert,  the  Scotchman, 
to  leave  London  in  1725  and  settle  in  Boston,  wliere  he  had  the  good  fort- 
une to  marry  a rich  widow,  and  lived  prosperous  and  contented  until  his 
death,  in  1751.  Smyhert  w^as  not  a great  painter.  If  he  had  remained  in 
Europe  his  position  never  would  have  been  more  than  respectable,  even  at 
an  age  when  the  arts  were  at  a low  ebb.  But  he  is  entitled  to  our  grat- 
itude for  perpetuating  for  us  the  lineaments  of  many  Avorthies  of  the 
period,  and  for  the  undoubted  impetus  his  example  gave  to  the  artists  who 
were  about  to  come  on  the  scene  and  assert  the  right  of  the  New  ATorld  to 
exercise  its  energies  in  the  encouragement  of  the  fine  arts.  It  is  by  an  ap- 
])arently  unimportant  incident  that  the  infiuencc  of  Smyhert  to  our  early 
art  is  most  vividly  illustrated.  He  brought  with  him  to  America  an 
excellent  coj)y  of  a Yandyck,  executed  by  himself;  and  several  of  our  ar- 


16 


ART  IN  AMERICA. 


lists,  including  Allston,  acknowledged  that  a sight  of  this  copy  affected 
them  like  an  inspiration.  The  most  important  work  of  Smybert  in  this 
country  is  a group  representing  the  family  of  Bishop  Berkeley,  now  in  the 
art  gallery  at  New  Haven.  A flock  of  foreign  portrait-painters,  following 
the  example  of  Smybert,  now  canie  over  to  tliis  country,  and  rendered 
good  service  in  perpetuating  the  faces  of  the  notable  cliaracters  and  beau- 
ties of  the  time;  but  none  of  them  were  of  special  moment,  excepting, 
perhaps,  Blackburn  and  Alexander.  But  their  labor  bore  fruit  in  pre- 
paring the  way  for  the  successes  of  Copley.  -The  first  native  American 


FAillLY  OF  BISHOP  BERKELEY. [jOHN  SMYBERT.] 

painter  of  merit  of  whom  there  is  any  authentic  record  was  Bober t Feke, 
who  was  of  Quaker  descent,  and  settled  in  Newport,  where  portraits  of  his 
are  still  to  be  seen,  notably  that  of  tiie  beautiful  wife  of  Governor  Wanton, 
which  is  preserved  in  the  Bedwood  Library.  AV  hat  little  art-education  he 
received  resulted  from  his  being  taken  prisoner  at  sea  and  carried  to  Spain, 
where  he  contrived  to  acquire  a few  hints  in  the  use  of  pigments.  Feke 
was  a man  of  undoubted  ability ; and  the  same  may  be  said  of  Matthew 
Pratt,  of  Philadelphia,  who  was  born  in  1734-,  in  respect  of  age  antedating 


EAELY  AMEEICAX  AET. 


IT 


botli  Copley  and  West,  although  not  known  until  after  they  had  acquired 
fame,  because  for  inany  years  he  contented  himself  with  the  })ainting  of 
signs  and  house  decorations. 

But  the  latent  aesthetic  capacity  of  the  colonies  displayed  itself  sud- 
denly when  John  Singleton  Copley,  at  the  early  age  of  seventeen,  after 
only  the  most  rudimentary  instruction,  adopted  art  as  a profession.  But, 
although  a professional  and  successful  artist  at  so  early  an  age,  Copley 
seems  to  have  been  preceded  in  assuming  the  calling  of  artist  by  a Quaker 
lad  of  Pennsylvania,  one  year  his  junior,  but  evincing  a turn  for  art  at  an 
earlier  age,  when  hardly  out  of  the  cradle. 

The  birth  of  a national  art  has  scarce!}"  ever  been  more  affecting  or 
remarkable  than  that  recorded  in  the  first  efforts  of  Benjamin  West.  lie 
was  born  at  Springfield,  Pennsylvania,  in  173S,  a year  after  Copley.  The 
scientist  of  the  future  may  perhaps  show  ns  that  it  was  something  more 
than  a coincidence  that  the  six  leading  painters  of  the  first  period  of 
American  art  came  in  pairs:  Copley  and  West  in  1737  and  1738;  Stuart 
and  Trumbull  were  born  in  175G ; A^andeifyn  arrived  in  177G;  and  All- 
ston  followed  only  three  years  later. 

The  descendants  of  the  iconoclasts  who  had  beaten  down  statues  and 
burned  mastei-pieces  of  art,  who  had  cropped  their  hair  and  passed  sumpt- 
uary laws  to  fulfil  the  dictates  of  their  creed,  and  had  sought  a wilderness 
across  the  seas  where  they  conld  maintain  their  rigid  doctrines  unmolested, 
were  now  about  to  vindicate  the  character  of  tlieir  fathers.  They  were 
now  to  prove  that  the  love  of  beauty  is  universal  and  unquenchable,  and 
that  sooner  or  later  every  })eople,  kindred,  and  tongue  seeks  to  utter  its 
aspirations  after  the  ideal  good  by  art  forms  and  methods;  and  that  the 
sternness  of  the  Puritans  had  been  really  directed,  not  so  much  against  art 
and  beauty  legitimately  employed,  as  against  the  abuse  of  the  purest  and 
noblest  emotions  of  the  soul  by  a debasing  art. 

As  if  to  emphasize  the  truth  of  these  observations,  as  well  as  of  the 
famous  prophecy  of  Bishop  Berkeley,  tlie  artist  to  whom  American  art 
owes  its  rise,  and  for  many  years  its  greatest  source  of  encouragement, 
was  named  West,  and  was  of  Quaker  lineage.  Such  was  the  rude  condi- 
tion of  the  arts  in  the  neighboifiood  at  tliat  time  that  the  first  initiation  of 
AVest  into  art  was  as  simple  as  that  of  Giotto.  At  nine  years  of  age  lie 
drew  hairs  from  a cat’s  tail  and  made  himself  a brush.  Colors  he  obtain- 
ed  by  grinding  charcoal  and  chalk,  and  crusliing  the  red  blood  out  from 

‘3 


18 


ART  IN  AMERICA. 


tlie  blackberry.  Ilis  inotlier’s  lamiclry  furnislied  him  with  indigo, and  the 
friendly  Indians  who  came  to  his  father’s  house  gave  him  of  the  red  and 
yellow  earths  with  which  they  daubed  their  faces.  With  such  rude  mate- 
]-ials  the  lad  painted  a child  sleeping  in  its  cradle;  and  in  that  first  effort 
of  precocious  genius  executed  certain  touches  which  he  never  surpassed,  as 
he  affirmed  long  after,  when  at  the  zenith  of  his  remarkable  career. 

How,  fi’om  such  primitive  efforts,  the  Quaker  youth  gradually  woibed 
into  local  fame,  went  to  Italy  and  acquired  position  there,  and  then  settled 
in  England,  became  the  favorite  i^rotkje  of  the  king  for  forty  years,  and 
the  President  of  the  IS'ational  Academy  of  Great  Britain — these  are  all 
matters  of  history,  and,  as  West  never  forgot  his  love  for  his  native  land, 
entitle  him  to  the  respectful  I’emembrance  not  only  of  artists,  but  of  all  his 
countrymen.  American  art  has  eveiy  I’eason,  also,  to  cherish  his  mem- 
oiy  with  profound  gratitude,  for  no  painter  ever  conducted  himself  with 
greater  kindness  and  generosity  to  the  rising,  struggling  ai-tists  of  his  na- 
tive land.  No  sooner  did  our  early  painters  reach  London  but  they  resort- 
ed, for  aid  and  guidance,  to  West,  and  found  in  him  a friend  who  lent 
them  his  })owerfnl  influence  Avithout  grudging,  or  allowed  them  to  set  up 
their  easels  in  his  studio,  and  gave  them  all  the  insti'iiction  in  his  power. 
Trumbull,  Stuart,  Dunlap,  and  many  others,  lung  after  they  had  forgotten 
the  natural  foibles  of  West,  had  reason  to  remember  how  great  had  been 
the  services  he  had  rendered  to  the  aspiring  artists  of  his  transatlantie 
home. 

Since  the  death  of  West — Avhom  Ave  must  consider  one  of  the  greatest 
men  our  country  has  produced — it  has  become  the  fashion  to  deci*y  his  art 
and  belittle  his  character.  This  seems  to  be  a mistake  which  reflects 
discredit  upon  his  deti’actors.  Afen  should  be  judged  not  absolutely,  but 
I’elatively  ; not  compared  Avith  ])erfe(dion,  but  Avith  their  contemporaries 
and  their  op|)ortunities.  In  estimating  men  of  the  j)ast,  also,  Ave  need  to 
put  ourselves  in  their  places,  rather  than  to  I'egard  them  by  the  standard 
of  the  age  in  Avhich  Ave  live.  In  no  pm’snit  are  men  more  likely  to  be 
misjudged  than  in  art;  for  artists  are  liable  to  be  guided  by  impulse 
rather  than  judgment,  and  the  very  vehemence  of  their  likes  and  dislikes 
renders  their  opinions  intense  rather  than  broad  and  charitable.  Benja- 
min West  appears  to  have  been  born  Avith  great  natural  powers,  Avhich 
matured  rapidly,  and  early  ceased  to  develop  in  excellence  proportionate 
to  his  extraordinary  industry  and  fidelity  to  art. 


EARLY  AMERICAN  ART. 


19 


Blit  while  a general  evenness  of  quality  rather  than  striking  excellence 
in  any  particular  works  was  the  characteristic  of  the  art  of  West,  together 
with  a certain  lirick-red  tone  in  his  colors  not  always  agreeable,  yet  a 
share  of  genius  must  be  granted  to  the  artist  who  painted  the  “ Departure 


“dkatii  on  the  pale  horse.” — [benjamin  west.] 


of  Begulns,”  “ Death  on  the  Pale  Horse,”  and  “ The  Death  of  Wolfe.” 
It  unquestionably  implied  daring  and  consciousness  of  power  to  brave  the 
opposition  of  contein[)orary  opinions  and  abandon  classic  costume  in  his- 
torical compositions  as  Jie  did;  to  win  to  his  side  the  judgment  of  Sir 
Joshua  Peynolds,  and  create  a revolution  in  certain  phases  of  art.  Kot- 
withstanding  this,  however.  West  was  emphatically  a man  of  his  time, 
moulded  by  it  rather  than  forming  it,  and  inclined  to  conventionalism. 
AVhen  he  entered  the  arena,  art  was  in  a depressed  condition  both  in  Italy, 
where  he  studied,  and  in  England.  But  while  Reynolds  and  Gainsbor- 
ough gave  a fresh  iiiq)ulse  to  art.  West’s  genius,  lujiening  precociously, 
early  became  incapable  of  achieving  further  progress. 

West  established  himself  as  a portrait-painter  at  the  age  of  lifteen: 
and  in  the  following  year — 1755 — Copliw  also  engaged  in  the  same  ]uir- 
suit,  when  onl}^  seventeen.  The  former  lived  to  be  seventy-nine;  the  latter 
wtis  seventy-eight  at  his  death.  The  art-life  of  Copley  must  be  considered 
the  most  indigenous  and  strictly  American  of  the  two.  Although  receiv- 


20 


AET  IN  AMERICA. 


iiig  some  early  instruction  from  his  step-father,  Pelliam,  and  enjoying 
opportunities  denied  to  West,  of  studying  portniits  by  foreign  artists,  yet 
Copley’s  advantages  were  ex^iessively  meagre;  and  whatever  successes  he 
achieved  with  his  brush,  until  he  finally  settled  in  England  at  the  age  of 
thirty-nine,  were  entirely  his  own,  and  can  be  proudly  included  among  the 
most  valued  treasures  of  our  native  art.  So  highly  were  the  abilities  of 
Copley  esteemed  in  his  day,  that  years  before  he  crossed  the  Atlantic  his 
reputation  had  preceded  him,  and  assured  him  ready  patronage  in  London. 

It  is  said  that  Copley  was  a very  slow  and  laborious  worker.  The 
elaboration  he  gave  to  the  details  of  costume  doubtless  recpiired  time. 
But  if  the  popular  opinion  was  correct,  we  must  assume  that  many  of  the 
paintings  now  reputed  to  be  by  his  hand  are  spurious.  It  is  a common 
saying  that  a Copley  in  a New  England  family  is  almost  ecpiivalent  to  a 
title  of  nobility;  and  this  veiy  fact  would  lead  inauy  to  attribute  to  him 
family  portraits  l)y  forgotten  artists,  who  had,  perhaps,  caught  the  trick 
of  his  style.  But  there  yet  remain  enough  well  authenticated  porti’aits 
by  this  great  painter,  in  excellent  preservation,  to  render  the  study  of  his 
works  one  of  great  interest  to  the  art  student.  There  is  no  mistaking  the 
handling  of  Copley.  Self-taught,  his  merits  and  defects  are  entirely  his 
own.  Ilis  style  was  open  to  the  charge  of  excessive  dryness;  the  outlines 
are  sometimes  hard,  and  the  figures  stiff  almost  to  ungracefulness.  The 
last  fault  was,  however,  less  noticeable  in  the  formal,  stately  characters 
and  costumes  of  the  time  than  it  would  be  under  different  conditions. 
In  Copley’s  best  compositions  these  errors  are  scarcely  perceptible.  He 
was  far  superior  to  West  as  a colorist,  and  was  especially  felicitous  in 
catching  the  expression  of  the  eye,  and  reproducing  the  elegant  dress  of 
the  period ; while  we  have  had  no  artist  who  has  excelled  him  in  perceiv- 
ing and  interpreting  the  individuality  and  character  of  the  hand.  A very 
fine  example  of  his  skill  iu  this  respect  is  seen  in  the  admirable  portrait 
of  Mrs.  Belief  Gill,  taken  when  she  was  eighty  years  old.  Gilbert  Stuart 
remarked  of  the  hand  iu  the  portrait  of  Colonel  Epes  Sargent, “Prick  that 
hand,  and  blood  will  spurt  out.”  It  is  indeed  a masterpiece.  No  painter 
was  ever  more  iu  sympathy  with  his  age  than  Copley;  and  thus,  when  we 
look  at  the  admirable  portraits  in  which  his  genius  commemorated  the 
commanding  characters  of  those  colonial  days,  in  their  brilliant  and  mas- 
sive uniforms,  their  brocades  and  embroidered  velvets,  and  choice  laces  and 
scarfs,  the  imagination  is  carried  back  to  the  past  with  irresistible  force, 


EARLY  AMERICAN  ART. 


21 


while,  at  the  same  time,  we  are  astonished  at  tlie  ability  which,  with  so 
little  training,  could  give  immortality  both  to  his  contemporaries  and  his 
own  pencil. 

While  the  fame  of  Copley  will  ultimately  rest  on  the  masterly  portraits 
which  he  bequeathed  to  posterity,  yet  it  will  not  be  forgotten  that  he  was 
one  of  the  ablest  historical  painters  of  his  time.  The  compositions  entitled 
the  “Boy  and  the  Squirrel,”  painted  in  Boston,  the  “Death  of  Major  Pier- 
son,” and  the  “Death  of  Chatham,”  will  contribute  for  ages  to  the  fame 
of  one  of  the  most  important  American  artists  of  the  last  century. 

Charles  Wilson  Beale,  the  next  artist  of  reputation  in  the  colonies, 
owes  liis  celebrity  partly  to  accidental  circumstances.  Of  course  a certain 
degree  of  ability  is  implied  in  order  that  one  may  know  how  to  turn  the 
winds  of  fortune  to  the  best  account  when  they  veer  in  his  favor.  But 
in  some  cases,  as  with  Copley  and  West,  man  seems  to  wrest  fate  to  his 
advantage;  while  in  otlieis  she  appears  actually  to  throw  herself  in  his 
way,  and  offer  him  opportunities  denied  to  othei’S.  At  any  rate,  it  seems 
no  injustice  to  ascribe  the  continued  fame  of  Charles  Wilson  Peale  to  the 
fact  that  he  was  enabled  to  associate  his  art  with  the  name  of  Washington  ; 
and  that  his  son,  Bemhrandt,  by  also  following  art  pursuits,  was  able  to 
emphasize  the  fame  of  the  family  name.  Peale  the  elder  was  not  a spe- 
cialist; he  was  rather,  like  so  many  born  in  America,  gifted  with  a general 
versatility  that  enabled  him  to  succeed  moderately  well  in  whatevei’  he 
undertook,  without  achieving  the  highest  excellence  in  any  department. 
Inclining  alteniately  to  science  and  mechanics,  he  finally  drifted  into  art, 
went  over  to  England  and  studied  with  West,  and  returned  to  America  in 
time  to  enter  the  army  and  rise  to  the  rank  of  colonel.  Ilis  versatile  turn 
of  mind  is  well  illustrated  by  one  who  says  that  “he  sawed  his  own  ivory 
for  his  miniatures,  moulded  the  glasses,  and  made  the  shagreen  cases.” 

It  was  the  good  fortune  of  Peale  to  paint  several  excellent  portraits  of 
Washington,  representing  him  during  the  military  part  of  his  career,  both 
before  and  during  the  Bevolution.  Lacking  many  of  the  qualities  of 
good  art,  those  portraits  ai’o  yet  faithful  and  characteristic  likenesses  of 
the  Father  of  his  Country,  and  as  such  are  of  great  interest  and  value. 

It  is  to  another  Bevolutionary  soldier  of  superior  natural  ability.  Col- 
onel John  Trumbull,  that  the  country  is  indebted  for  a pi’oof  of  the  na- 
tional turn  for  the  fine  aids.  The  son  of  Jonathan  Trumbull,  Colonial 
Govei'iior  of  Comiecticnit,  ho  recei\'ed  a classical  education  at  Harvard 


22 


ART  IN  AMERICA. 


Universit}^  Eat  here,  again,  observe  tlie  far-reaching  influence  of  one  act. 
That  copy,  already  alluded  to,  which  was  executed  by  Sinybert  after  a 
work  of  Yandyck — the  great  painter  who  was  welcomed  to  tlie  banquet- 
ing halls  of  merry  England  by  Charles  I.  and  Henrietta  Maria  — was 
again  to  bear  fruit.  It  inspired  the  genius  of  Tj’umbull  with  a passion 
for  color  while  yet  in  his  youth,  and  ultimately  led  to  his  becoming  a 
great  historical  painter. 

But  first  he  had  to  undergo  the  discipline  of  war,  which  gave  him  that 
experimental  knowledge  of  which  he  afterward  made  such  good  use.  Of  a 
high  spirit  and  proud,  irascible  temper,  Trumbull  served  with  distinction; 
first  as  aid  to  Washington,  tlien  as  major  at  the  storming  of  the  works 
of  Eurgoyne  at  Sai'atoga ; and  he  had  reaehed  a colonelcy,  when  he  threw 
up  his  commission  and  went  over  to  England,  and  became  a student  of 
West,  whose  style  is  perceptible  in  many  of  the  works  of  the  younger  artist. 

If  inequality  is  one  sign  of  genius,  then  Trumbull  possessed  it  to  a 
marked  degree.  The  difference  in  merit  between  his  best  paintings,  which 
were  chiefly  composed  in  England,  and  those  he  executed  in  this  country, 
in  the  later  years  of  his  life,  is  remarkable.  This  probalfly  was  due  in 
part  to  the  lack  of  any  appreciable  art  influences  or  pati'onage  in  his  own 
country  to  stimulate  the  artistic  alflatus.  The  talents  of  Trumbull  Avere 
conspicuous  in  portialture  and  historical  ])ainting.  The  energy  of  his  nat- 
ure is  illustrated  in  such  ipowerful  portraits  as  those  of  Washington  and 
Hamilton.  Deficient  in  draAving,  and  unlike  in  details  of  feature,  they  are 
life-like  in  their  general  resemblance,  and  seem  to  thrill  Avith  the  spirit  of 
the  original.  ATe  see  before  us  the  heroes  avIio  conducted  tlie  struggling 
colonies  successfully  to  military  independence  and  political  freedom. 
Trumbull’s  miniatures  in  oil  of  many  of  the  men  Avho  Avere  prominent  in 
the  lie  volution  are  also  very  spirited  and  characteristic,  and  of  inestima- 
ble historic  value.  He  Avas  less  successful  in  the  representation  of  femi- 
nine beauty.  His  talents  moved  Avithin  a limited  range,  but  Avithin  that 
narroAV  circle  displayed  certain  excellences  quite  rare  in  the  Anglo-Saxon 
art  of  that  period,  exhibiting  a correct  feeling  for  color,  keen  perception 
of  character,  and  great  force  of  expression.  But  let  him  stray  beyond  the 
compass  of  his  poAA^ers,  as  in  the  representation  of  AAmman,  and  his  coloring 
becomes  unnatui-al  and  his  draAving  inexpressive. 

The  art  of  this  great  painter,  for  so  AA^e  must  call  him  in  vieAV  of  some 
of  his  AAmrks,  culminated  in  the  historical  compositions  entitled  ‘"The  Sign- 


EAKLY  AMERICAN  ART. 


23 


ing  of  the  Declaration  of  Independence,”  ‘‘The  Siege  of  Gibraltar,”  and 
the  immortal  compositions  representing  tlie  “Death  of  Montgomery”  and 
tlie  “Battle  of  Bunker  Hill.”  The  last  two  wei-e  not  surpassed  by  any 
similar  works  in  the  last  century,  and  thus  far  stand  alone  in  American 
historical  painting. 

Cabinet  in  size,  they  combine  breadth  and  detail  to  an  nnusnal  degree. 
The  faces  are  in  miniature,  in  many  cases  portraits  from  life.  They  could 
be  cut  out  and  framed  as  portraits;  each  also  is  stamped  with  the  individ- 
ual passions  of  that  terrible  hour — hate,  exultation,  pain,  courage,  sorrow, 
despair.  And  yet  with  all  this  truth  of  detail  the  general  spirit  and  effort 


DKATll  OF  MONTOOMFUY. [jOHN  TKUMBULL.J 


of  the  scene  is  preserved.  The  onward  movement,  the  rush,  the  onset  of 
war,  the  harmony  of  lines,  the  massing  of  chiaro-oscitro^  the  brilliance  and 
truth  of  (iolor,  ai‘e  all  there.  One  lirst  gazes  astonished  at  the  skill  of  the 
artist,  and  ends  b}^  feeling  his  heart  stirred  and  his  emotions  shaken  as  the 
leaves  of  the  forest  are  blown  by  the  winds  of  Octobei’,  and  his  syni})a- 
thies  carried  away  by  the  grandeur  and  the  terror  of  battle.  Yes,  when 
John  Ti’iimbull  [)ainted  those  two  [)ictui’es,  he  was  inspired  by  the  tires  of 


24: 


ART  IN  AMEEICA. 


genius  for  once  in  liis  life.  Ills  later  historical  works  are  so  inferior  in  all 
respects  as  scarcely  to  seem  to  be  by  the  same  hand. 

Trumbull  lived  to  see  a taste  for  the  arts  growing  up  among  Ids  fellow- 
countrymen,  and  the  awakening  of  the  first  feeble  attempts  to  furnish  art 
instruction  in  his  native  land  to  the  artists  of  the  future.  He  was  Presi- 
dent of  the  Academy  of  Fine  Arts,  of  which  he  was  one  of  the  founders. 

In  the  same  year  with  Trumbidl  was  born  the  greatest  colorist  and 
portrait-painter  we  have  seen  on  this  side  of  the  Atlantic,  Gilbert  Stuart. 
The  town  of  Narragansett,  in  the  little  State  of  Rhode  Island,  was  the  birth- 
place of  this  painter,  who  came  of  Scotch  and  AYelsh  descent,  an  alliance 
of  blood  whose  individual  traits  were  well  illustrated  in  the  life  and  char- 
acter of  the  painter. 

Fortune  was  becoming  a little  kinder  to  our  artists.  Stuart’s  dawning 
genius  was  directed  at  Xewport  by  Cosmo  Alexander,  a Scotch  portrait- 
painter  of  some  merit,  who  took  his  pupil  to  Scotland  and  placed  him  in 
charge  of  Sir  George  Chambers.  After  various  vicissitudes,  comprising,  as 
with  so  many  of  our  early  painters,  an  art  appienticeship  in  the  studio  of 
West,  the  young  Ameri<;an  artist  settled  for  awhile  abroad,  and  acquired 
such  repute  that  he  rivalled  Sir  Joshua  Reynolds  in  the  popular  esteem: 
his  brush  was  in  demand  by  the  first  in  the  land;  and  the  unfortunate 
Louis  XVI.  was  included  among  his  sitters.  After  this,  in  1793,  Stuart 
returned  to  America,  painted  the  portraits  of  the  leading  citizens  in  our 
chief  cities,  and  finally  settled  in  Poston.  The  most  important  works  he 
executed  iu  this  country  were  his  well-known  portraits  of  Washington,  in- 
cluding the  famous  full-length  painting,  which  represents  the  great  man, 
not  in  the  ])rime  of  his  active  days,  as  represented  by  Peale  and  Trumbull, 
but  when,  crowned  with  glory  and  honor  in  the  majesty  of  a serene  old 
age,  he  was  approaching  the  sunset  of  life. 

The  character  of  Stuart  was  one  of  marked  peculiarities,  and  offers 
points  of  interest  scarcely  equalled  by  that  of  any  other  American  artist. 
The  canny  shrewdness  and  penetrating  perception  of  the  Scotchman  was 
mellowed  almost  to  the  ])oint  of  inconsistency  by  the  warm  and  supple 
traits  of  his  Welsh  ancestry.  An  admirable  story-teller  himself,  he  iu  turn 
gave  rise,  by  his  oddities,  to  many  racy  anecdotes,  some  of  which  have 
been  treasured  up  and  well  told  by  Dunlap,  who,  although  inferior  as  a 
painter,  deserves  to  be  cordially  remembered  for  his  discursive  but  valua- 
ble book  on  early  American  painting. 


EARLY  AxMERICAN  ART. 


25 


As  regards  the  art  of  Stuart,  it  can  be  safely  affirmed  tliat  America 
lias  produced  no  painter  who  has  been  more  unmistakably  entitled  to  rank 
among  men  of  genius  as  distinguished  from  those  of  talent.  We  assume 


GENERAL  KNOX. [GILBERT  STUART.] 


tliat  the  difference  between  the  two  is  not  one  of  degree,  but  of  kind.  In 
the  intellectual  progress  of  the  world  the  first  leads,  the  other  follows. 
One  may  have  great  talents,  and  yet  really  not  enrich  the  world  witli  a 
single  new  idea,  fie  simply  assents  to  the  acce[)ted,  and  lends  it  the  aid 
of  his  iKiwers.  Ihit  genius,  not  content  witli  things  as  they  are,  either 
gives  ns  new  truths  or  old  truths  In  a now  form.  The  greatest  minds — 
Cmsar,  Shakspeare,  Goethe,  Franklin — jircsent  ns  with  a just  combinatipn 
of  genius  and  talent:  they  both  create  and  organize.  Aow,  one  may  have 


26 


ART  IN  AMERICA. 


great  or  little  genius,  but  so  far  as  lie  tells  us  something  worth  knowing  in 
his  own  way,  it  is  genius  as  distinguished  from  talent. 

And  this  is  why  we  say  that  Stuart  liad  genius.  He  followed  no 
beaten  track,  he  gave  in  his  allegiance  to  no  canons  of  the  schools.  His 
eagle  eye  pierced  the  secrets  of  nature  according  to  no  prescribed  rules. 
Not  satisfied  with  surfaces  or  accessories,  he  gave  us  character  as  well. 
Nor  did  he  rest  here.  In  the  technical  requirements  of  his  art  he  stands 
original  and  alone.  Tliat  seemingly  hard,  practical  Scotch  nature  of  his 
was  yet  attuned  like  a delicate  chord  to  the  melody  of  color.  Few  more 
than  he  ha\’e  felt  the  subtle  relation  between  sound  and  color — for  he  was 
also  a musician.  In  the  handling  of  pigments,  again,  he  stands  pre-emi- 
nent among  the  artists  of  his  generation.  Why  is  it  that  his  colors  are  as 
brilliant,  as  pure,  as  forcible,  as  harmonious,  to-day  as  when  he  laid  them 
on  the  canvas  nearly  a century  ago?  If  you  carefully  examine  his  pict- 
ures you  shall  see  one  cause  of  the  result  explained.  He  had  such  con- 
fidence in  his  powers,  and  such  technical  mastery,  that  he  needed  not 
to  experiment  with  treacherous  vehicles;  and,  rarely  mixing  tints  on  tlie 
]'>alette,  laid  pure  blues,  reds,  or  yellows  directly  on  the  canvas,  and  slight- 
ly dragged  them  together.  Thus  he  was  able  to  render  the  stippled,  mot- 
tled semblance  of  color  as  it  actually  ap])ears  on  the  skin  ; to  suggest, 
also,  the  prismatic  effect  Avhich  all  objects  have  in  nature;  and,  at  the 
same  time,  l)y  keeping  the  colors  a[)art,  to  insure  their  permanence. 
Stuart  generiilly  painted  thinly,  on  large-grained  canvas,  Avhich  gave  the 
picture  the  softness  of  atmosphere.  Hut  sometimes,  as  in  the  case  of  the 
powei’ful  portrait  of  General  Knox,  he  loaded  his  colors.  But  even  in 
that  work  he  did  not  depart  from  his  usual  practice  in  ]-endering  the 
flesh  tints. 

It  has  l)een  alleged  by  some  that  Stuart  was  unable  to  do  justice  to  the 
delicate  beauty  of  woman,  especially  the  refined  type  which  is  character- 
istic of  the  llnited  States.  He  may  have  more  often  failed  in  this  regard 
than  in  other  efforts;  but  the  force  of  the  accusation  disappears  when  one 
observes  the  extraordinaiw  loveliness  of  such  portraits  as  that  of  Mrs.  For- 
rester, the  sister  of  Judge  Story,  at  Salem.  But,  indeed,  it  seemed  to  make 
little  difference  to  him  who  the  sitter  happened  to  be.  He  entered  into  the 
nature  of  the  individual,  grasped  the  salient  traits  of  his  character,  and, 
whether  it  was  a seaman  or  a statesman,  a triumphant  general  or  a rei-gning 
belle,  his  unerring  eye  and  his  matchless  brush  rendered  justice  to  them  all. 


EARLY  AMERICAN  ART. 


27 


Gilbert  Stuart  Newton,  the  nephew  of  Stuart,  is  a painter  well  known 
in  England,  where  he  early  established  himself;  and,  having  been  born  at 
Halifax,  and  always  I’emained  a British  subject,  he  more  properly  belongs 
to  foreign  art.  But  his  education  was  gained  in  the  studio  of  his  uncle  in 
Boston,  and  his  style  shows  unmistakable  traces  of  the  teacher’s  methods. 
Newton  executed  some  good  portraits  before  abandoning  his  native  land, 
including  one  of  John  Adams,  which  is  in  the  Massachusetts  Historical 
Society.  He  is  known  abroad  chiefly  as  a genre  painter  of  semi-literary 
compositions. 

James  Erothinghain  was  also  a pupil,  and  in  some  degree  an  imitator, 
of  Stuart,  who  possessed  nnnsual  ability  in  portraiture,  but  it  was  contined 
to  the  painting  of  the  head.  Whether  from  the  lack  of  early  advantages 
— which  was  so  i-emarkable  that  he  had  not  even  seen  a palette  when,  self- 


taught,  he  was  able  to  execute  a very  tolerable  likeness  — or  because  of 
natural  limitation  of  power,  Erothingham’s  talent  seemed  to  stop  Avith  the 
neck  of  the  sitter.  The  fa(;e  would  ])erhaps  be  reproduced  with  a force, 
a heauty  of  color,  and  a trutli  of  chai’acter  that  oftentimes  suggested  the 


28 


ART  IN  AMERICA. 


art  of  Stuart;  while  tlie  hands  or  shouldei's  were  almost  ludicrously  out 
of  drawing  and  proportion. 

Besides  Frotliingham,  there  were  a number  of  American  painters  of 
celebrity,  contemporaries  of  Stuart,  but  of  nnecpial  merit.  Colonel  Sar- 
gent acquired  a repute  in  his  time  which  it  is  difficult  to  understand  at 
present.  He  seems  to  have  been  more  of  an  amateur  than  a professional 


“babes  in  the  wood.” [llEMBRANDT  PEALE.] 


artist.  Ilis  ablest  work  is  the  “Landing  of  the  Pilgrims,”  of  which  a 
copy  is  preserved  at  Plymouth.  Pembrandt  Peale  obtained  a permanent 
I’epntatioii  for  his  very  able  and  truthful  portrait  of  AVashington.  lie  be- 
stowed upon  it  the  best  efforts  of  his  mature  years,  and  it  received  the 
compliment  of  being  purchased  by  Congress  for  §2000 — a lai*ge  sum  for 
an  American  painting  in  those  days,  when  the  purchasing  power  of  money 
was  greater  than  it  is  now.  Ilis  “ Comb  of  Death”  is  a vast  composition, 
that  must  candidly  be  considered  moi’e  ambitions  than  successful.  In 
such  works  as  the  “ Babes  in  the  AVood,”  Peale  seems  to  foreshadow  the 
genre  art  which  has  been  so  long  coming  to  us.  John  AVesley  Jarvis,  a 
native  of  England,  also  enjoyed  at  one  time  much  popularity  as  a portrait- 
painter.  He  was  possessed  of  great  versatility;  was  eccentric;  a ban  vi- 
vant.  and  excelled  at  telling  a stoiw.  It  is  melancholy  to  record  that, 
after  many  vicissitudes,  he  ended  his  days  in  poverty. 

Thomas  Sully  was  also  a native  of  England,  who  came  to  this  country 
in  childhood,  and  lived  to  such  a great  age  that  it  is  difficult  to  realize 
that  he  was  the  contemporary  of  Trumbull  and  Stuart.  Sully  had  great 


EARLY  AMERICAN  ART. 


29 


refinement  of  feeling,  and  reminds  ns  sometimes  of  Sir  Thomas  Lawrence. 
This  is  shown  in  a certain  favorite  ideal  head  of  a maiden  which  he  repro- 
duced in  various  compositions.  One  often  recognizes  it  in  his  wmrks.  His 
portraits  are  also  pleasing;  but  in  the  treatment  of  a masculine  likeness 
tlie  feebleness  of  his  stjde  and  its  lack  of  originality  or  strength  are  too  of- 
ten apparent.  John  Naegle,  of  Philadelphia,  was  a pnpil  of  Sally,  bnt  first 
began  his  art  career  as  apprentice  to  a coach-painter.  Like  many  of  onr 
artists  of  that  time,  he  tried  his  hand  at  a portrait  of  Washington  ; bnt  he 


'FANNY  KKMBLE. [tHOMAS  SULLY.] 

will  be  longest  and  best  remembered  by  his  vivid  and  chai’acteristic  paint- 
ing of  Patrick  Lyon,  the  blacksmitli,  at  his  forge.  This  picture  now  hangs 
in  the  elegant  gallery  of  the  Philadelphia  Academ}^  of  Fine  Arts,  where 
several  of  tlie  masterpieces  of  onr  early  painters  may  be  seen  hanging 
in  company  with  it,  among  them  West’s  “Christ  Pejected,”  Yanderlyn’s 
“Ariadne,”  and  Allston’s  “ Dead  Man  Restored  to  Life.” 

Born  the  year  of  the  Declaration  of  Independence,  John  Yanderlyn, 
like  most  of  the  leading  artists  of  this  period  of  Avhom  we  are  writing, 
lived  to  old  age.  His  days  were  filled  with  liardships  and  vicissitudes: 


30 


Airr  IN  AMERICA. 


and,  unless  he  has  since  become  awai’e  of  the  fame  he  left  behind,  he  was 
one  of  many  to  whom  life  has  been  a veiy  questionable  boon. 

Yandei-lyn  was  a fai'iner’s  boy  on  the  Hudson  Eiver.  It  was  one  of 
those  curious  incidents  by  which  Destiny  sometimes  makes  us  tliink  there 


ARIADNE. [.TOIIN  TANDERLYN.] 

may  he,  after  all,  something;  more  than  blind  action  in  her  ways,  that 
Aaron  Ihirr,  passing  by  his  father's  house,  saw  some  rude  sketches  of  the 
rustic  lad  Avith  that  keen  eye  of  his.  Burr  discerned  in  them  signs  of 
promise,  and  invited  him  to  come  to  New  York.  AVhen  Vanderlyn  ar- 
rived Bui’r  treated  him  kindly.  Eventually  the  painter  made  a portrait 
of  Theodosia,  tlie  beautiful  and  ill-fated  daughter  of  his  benefactor;  and 
when  Burr  was  under  a cloud  and  found  himself  destitute  in  Eui'ope,  it 
was  Yanderlyn  who  received  and  gave  him  shelter. 

Much  of  the  art-life  of  this  painter  was  passed  at  Borne  and  in  Baris. 
IBs  varied  fortunes,  and  the  constant  adversity  that  hathed  him  at  every 
step,  obliged  him  to  resort  to  many  a pitiful  shift  to  keep  soul  and  body 
together.  It  is  owing  to  this  cause  that  he  so  rarely  found  opportunity  to 
do  justice  to  the  undoubted  ability  he  possessed. 


EARLY  AMERICAN  ART. 


31 


Bat  Yanderlyii  left  at  least  two  important  creations,  marked  bj  gen- 
uine artistic  feeling  and  beauty,  that  will  long  entitle  him  to  a favorable 
position  among  American  painters.  “ Marins  Among  the  Bains  of  Car- 
thage ” I have  never  seen,  and  can  only  speak  of  it  by  report;  but  that  it 
is  a work  deserving  to  rank  high  in  the  art  of  the  time  seems  to  be  proven 
not  only  by  the  applaase  it  received  at  Borne,  bnt  also  by  the  fact  that  it 
carried  off  the  gold  medal  at  the  Salon  in  Paris.  Snch  is  the  irony  of  fate 
that  the  artist  was  twice  forced  to  pawn  this  medal.  The  second  time  he 
was  nnable  to  redeem  it. 

The  ‘^Ariadne’’  has  nnfortnnately  began  to  show  signs  of  age,  and  the 
browns  into  which  the  flesh  tints  are  painted  are  commencing  to  discolor 
the  delicate  grays.  An  oil-paintiag,  if  properly  execnted,  shoald  hold  its 
qualities  for  a longer  time;  bat  unhappily  the  works  of  too  many  good 
artists  are  affected  in  the  same  way.  The  Ariadne”  is,  however,  a noble 
composition,  quite  in  classic  style  ; and  if  not  strikingly  original,  is  a most 
creditable  work  for  the  early  art  of  a young  people. 

Newport,  Bhode  Island’s  charming  little  city  by  the  sea,  once  a thriv- 
ing commercial  centre,  bat  now  a favorite  resort  of  culture  and  gayety  and 
wealth,  but  alwa^^s  opulent  in  delightful  Colonial  and  Bevolntionary  assO' 
ciations,  and  doubly  attractive  for  the  artistic  memories  that  cling  to  it,  and 
the  treasures  of  our  art  which  it  contains — this  was  the  birthplace  of  Ed- 
ward G.  Malbone,  who,  after  a successful  art-life  in  his  native  town  and 
at  Charleston,  died  at  Newport,  in  1807,  at  the  early  age  of  thirty-two. 
Miniature-painting  was  a favorite  pursuit  of  our  early  artists.  Some  of 
our  best  portraits  have  been  done  by  that  means;  but  among  all  who  have 
followed  it  in  the  United  States  none  have  excelled  Malbone,  although 
some,  like  John  Eraser,vof  South  Carolina,  have  been  very  clever  at  it. 
He  succeeded  in  giving  character  to  his  faces  to  a degree  unusual  in  min- 
iature; while  the  coloring  was  rendered  at  once  with  remarkable  delicacy, 
purity,  and  fidelity.  II is  best  works  are  probably  the  likeness  of  Bay 
Green,  and  the  exquisitely  beautiful  group  called  the  “ Honrs,”  which  is 
carefully  preserved  in  the  Athenmum  at  Ih'ovidence. 

AVith  the  general  public  the  name  of  no  American  artist  of  that  time 
is  probably  more  widely  known  than  that  of  ATashington  Allston.  He 
owes  this  in  ]>art,  doubtless,  to  the  fact  that  as  a winter  he  also  became 
identified  with  the  literary  (jircle  at  that  time  prominent  in  Kastern  Afassa- 
chusetts.  He  was  born  in  1771),  at  AVbiccamaw,  South  Carolina.  Sent  at 


ART  IN  AMERICA. 


“the  Houns.” — [e.  a.  malbone.]  oiuginal  size. 


seven  years  of  age  to  Newport,  both  for  healtli  and  instruction,  he  lived 
tliere  ten  years;  and  very  likely  associated  with  Malbone,  and  perhaps  met 
Stuart  there. 

Snbsequently  Allston  visited  Italy,  and  then  settled  in  London,  where 
his  talents  received  snch  ample  recognition  as  to  gain  him  the  position  of 
Academician.  The  mistake  of  his  artdife — -althongh  it  was  perhaps  ad- 
vantageons  to  his  fame  at  home — was  probably  his  return  to  the  United 
States  while  yet  in  his  prime.  The  absence  of  influences  encouraging  to 
art  growtli,  and  of  that  sympathy  and  patronage  so  essential  to  a sensitive 


EARLY  AMERICAN  ART. 


33 


nature  like  that  of  Allston’s,  had  a blighting  effect  on  his  faculties;  and 
the  mail}"  years  he  passed  in  Boston  were  years  of  aspiration  rather  than 
achievement.  Allston  has  suffered  from  two  causes.  Overrated  as  an  ar- 
tist in  his  day,  liis  reputation  is  now  endangered  from  a tendency  to  award 
liim  less  than  justice.  The  latter  may  be  due  in  part  to  the  fact  that  All- 
ston himself  adopted  a course  of  action  that  tended  to  repress  rather  than 
develop  his  art  powers.  In  his  desire  to  give  intellectual  and  moral  value 
and  permanent  dignity  to  his  productions,  and  in  his  aversion  to  sensation- 
alism in  art,  he  treated  his  subjects  with  a deliberate  severity  which  takes 
away  from  them  all  the  feeling  of  spontaneity  which  is  so  delightfid  and 
important  in  works  of  the  imagination.  If  his  genius  had  been  of  the 
high  order  claimed  by  some,  such  a result  would  have  been  impossible. 
The  emotional  element  would  have  sometimes  asserted  itself,  and  given 
to  his  finished  works  that  warmth  and  attraction  the  lack  of  which,  while 
they  are  intellectually  interesting  and  wortln-  of  great  respect,  prevents 
them  from  inspiring  and  winning  our  hearts,  and  has  impaired  the  infiu- 
ence  they  might  have  had  in  advancing  the  progress  of  art  in  America. 

That  Allston  might  have  produced  paintings  of  more  absolute  power, 
seems  evident  from  his  numerous  crayon  sketches  and  studies  for  paint- 
ings, which  are  full  of  fire,  enei’gy,  and  beauty,  delicate  fancy,  and  creative 
power.  One  cannot  wholly  understand  Allston’s  ability  until  he  has  seen 
those  studies;  and  it  cannot  be  too  much  regretted  that  he  did  not  allow  a 
freer  rein  to  his  brush  when  composing  the  works  upon  which  he  desired 
to  establish  his  fame.  When  he  did  so  far  forget  himself,  we  get  a glimpse 
of  the  fervor  and  grandeur  of  the  imagination  that  burned  in  that  brain, 
whose  thoughts  were  greater  than  its  capacity  for  expression.  It  must 
also  be  granted  that  the  works  of  Allston  have  the  quality  peculiar  to  the 
])i’oductions  of  original  minds:  it  is  not  until  they  have  been  seen  re]’>cat- 
edly  that  they  reveal  all  that  is  in  them.  “Uriel  in  the  Snn,”  “Jeremiah,” 
and  “The  Dead  Man  Bestored  to  Life,”  are  prohabl_y  the  best  of  the  fin- 
ished works  by  which  the  solemn,  mysterious,  and  inq)i'essive  imagination 
of  Allston  can  be  best  estimated.  AVithout  giving  ns  new  I’cvclations  re- 
garding the  secrets  of  color,  as  ho  was  rather  an  imitator  of  the  Venetian 
school  than  an  originatoi’,  Allston  can  be  justly  considered  one  of  the  most 
agreeable  colorists  America  has  produced. 

Few  of  those  who  recognize  the  late  Samuel  V.  B.  Alorse  as  the  in- 
ventor of  our  telegi’aphic  system  are  aware  that  in  early  life  he  was  an 


34: 


ART  IN  AMERICA. 


‘ ‘ J KKKM I A H.  ’ ’ [ W A SIII.NGTON  ALLSTON.  j 

artist,  and  pivo  evidence  of  succeeding  both  in  sculpture  and  painting. 
Altlion<2;li  liis  preference  was  for  the  latter,  we  are  inclined  to  think  that 
he  was  best  fitted  to  be  a ecnlptoi’.  lie  became  tlie  pupil  of  Allston  in 
London,  and  modelled  at  that  time  a statue  called  the  “Dying  Ilercnles,” 
which  won  tlie  prize  of  a gold  medal  offered  by  the  Adelphi  Society  of 
Arts  for  the  best  single  figure.  From  that  statue  he  afterward  composed 
a painting  of  the  same  subject,  which  is  now  in  Xew  Haven,  a work  of 
unquestioned  power,  showing  thorough  anatomical  knowledge  and  a crea- 


l)YIN(i  IIKKCULKS.” [SA.MI  KI,  K.  1$.  MOKSK.  ] 


EARLY  AMERICAN  ART. 


37 


live  imagination.  But,  while  there  was  reason  to  predict  an  interesting  art 
career  for  the  young  American,  circumstances  beyond  liis  control  drifted 
him  away  from  the  chosen  pursuit  of  his  youth,  and  his  fame  and  fortune 
were  eventually  achieved  in  the  paths  of  science.  It  is  interesting  in  this 
connection  to  read  the  words  which  Morse,  suffering  from  the  pangs  of 
disappointment,  wrote  to  one  who  asked  his  advice  about  becoming  a 
painter:  “My  young  friend,  if  you  have  determined  to  try  the  life  of  an 
artist,  I wish  yon  all  success;  but  as  you  have  asked  my  honest  opinion,  I 
must  say  that,  if  you  can  find  employment  in  any  other  calling,  I advise 
you  to  let  painting  alone.  I have  known  so  many  young  men — some  of 
them  of  decided  talent,  too — wlio,  after  repeated  trials  and  failures,  be- 
came discouraged,  gave  up  further  effort,  and  went  to  ruin.”  ISotwith- 
standing  that  such  were  his  views  when  he  abandoned  art,  did  not  Morse, 
in  the  prosperous  hours  of  his  life,  sometimes  look  back  to  his  early 
art  with  a pang  of  regret  ? But  while  he  continued  in  the  profession 
of  art,  his  activity  was  such  that  the  National  Academy  of  Design  owes 
its  origin  to  him,  and  with  him  closed  the  first  period  of  art  in  the  United 
States. 

We  see  that  this  division  of  our  pictorial  art — with  the  exception  of 
Thomas  Birch,  of  Philadelphia,  a marine  painter  of  some  repute,  and  a 
few  others  of  less  note — was  devoted  to  the  figure ; and,  if  sometimes  fee- 
ble in  result,  was  inspired  by  lofty  motives.  In  historical  art  and  portrait- 
ure it  was,  if  not  strictly  original,  yet  often  very  able,  and  fairly  main- 
tained itself  on  a level  with  the  contemporary  art  of  Europe.  Owing  to 
the  entire  want  of  opportunities  for  professional  education  at  home,  our 
leading  artists,  with  few  exceptions,  were  forced  to  pass  a good  part  of 
their  lives  in  foreign  studios. 

We  also  find  that  a feeling  for  the  beauty  of  form,  as  indicated  in 
black  and  white,  or  in  sculpture,  was  scarcely  perceptible  in  this  stage  of 
our  art.  AV^ith  the  exception  of  Shem  Drowne  and  Patience  AVright,  who 
modelled  skilfully  in  wax,  the  sense  for  plastic  art  was  altogether  dormant 
in  the  countiy;  while  any  progress  in  architecture,  until  in  I’ccent  years, 
was  hopelessly  ignored.  It  is  true  that  the  active,  restless  intellect  of 
Thomas  Jefferson  sought  to  endow  the  nation  with  a sixth  order  of  archi- 
tecture, called  the  Columbian,  and  patriotically  resembling  a stalk  of 
Indian-corn.  The  small  pillars  made  after  this  design  are  in  one  of  the 
vestibules  of  the  basement  of  the  Capitol  at  AVashington,  where  the  ardent 


38 


ART  IN  AMERICA. 


patriot  limy  visit  tliem,  and  see  for  iiimself  the  heginning  and  the  end  of 
the  only  order  of  arehitectnre  ever  attempted  in  this  eountry. 

Through  much  tribulation,  much  earnest  faith,  and  enthusiasm  for  art, 
our  early  painters  prepared  the  way  for  the  national  art  of  the  future. 
They  met  only  moderate  appreciation  in  their  native  land  at  that  time. 
But  we  owe  much  to  them  ; and  in  our  preference  for  present  methods — 
which  must  in  turn  be  superseded  by  others — let  ns  not  forget  the  honor 
due  to  the  pioneers  of  American  art.  In  the  first  articulate  utterances  of 
a child,  or  in  the  dialect  of  an  aboriginal  tribe,  lie  the  rudiments  of  a 
national  tongue  eventually  carried  to  a high  degree  of  culture;  and  the 
first  rude  art  or  poesy  of  a young  people  sometimes  possesses  touches  of 
freshness,  charming  simplicity,  or  virile  force  which  are  too  liable  to  be 
softened  away  beyond  recall  by  the  I’efinements  of  a later  civilization. 


AMERICAN  PAINTERS. 


39 


II. 

AMERICAN  PAINTERS. 

1828-1878. 

^'^IlE  generation  immediately  succeeding  tlie  American  Itevolntion  was 
^ devoted  by  the  people  of  the  young  republic  to  adjusting  its  commer- 
cial and  political  relations  at  home  and  abroad.  Early  in  this  century, 
however,  numerous  signs  of  literary  and  art  activity  became  apparent, 
and  in  1815  the  North  American  Revieiu  was  founded.  We  mention  this 
fact,  although  a literary  event,  as  indicating  the  point  in  time  when  the 
nebulous  character  of  the  various  intellectual  influences  and  tendencies  of 
the  nation  began  to  develop  a certain  cohesive  and  tangible  form.  It  was 
about  the  same  time  that  our  art,  subject  to  similar  influences,  began  to 
assume  a more  definite  individuality,  and  to  exhibit  rather  less  vagueness 
in  its  yearnings  after  national  expression. 

Gilbert  Stuart,  one  of  the  most  remarhable  colorists  of  modern  times, 
died  in  the  year  1828.  In  the  same  year  the  National  Academy  of  De- 
sign was  founded.  These  two  events,  occurring  at  the  same  time,  seem 
properly  to  mark  the  close  of  one  j'leriod  of  our  art  history  and  the  dawn 
of  its  successor;  for  notwithstanding  the  excellence  of  Stuart’s  art,  and 
the  virile  character  of  the  art  of  some  of  his  contemporaries,  yet  their 
efforts  had  been  spasmodic  and  unequal ; much  of  it  had  been  done 
abroad  under  foreign  influences;  and  there  was  no  sustained  patronage  or 
art  organization  at  home  which  could  combine  their  efforts  toward  a prac- 
tical and  common  en  d.  T1  le  flrst  president  of  the  new  institution  was 
Samuel  E.  E.  Moi’se. 

The  National  Academy  of  Design  superseded  a similar  but  less  wisely 
oig’anized  society,  which  had  led  a ])recarious  existence  since  1801.  A\hth 
the  new  institution  was  collected  the  nucleus  of  a galleiy  of  paintings 
and  casts;  and  from  the  outset  the  idea  suggested  by  its  name  was  car- 


40 


ART  IN  AMERICA, 


“mumble  the  peg.” — [henry  inman.] 


ried  out,  by  funilsliing  tlie  most  tliorougli  opportunities  for  art-Iustruction 
tlie  country  could  afford. 

Although  seemingly  fortuitous,  the  estahlishmeut  of  the  Academy  of 
Design  really  juarks  the  opening  of  a distinct  era  in  the  history  of  Ameri- 
can art;  during  which  it  has  developed  into  a rounded  completeness  to  a 
degree  that  enables  us,  with  some  measure  of  fairness,  to  note  the  causes 
Avhich  led  to  it,  which  have  nourished  its  growth,  and  which  have  made  it 
a vrorthy  forerunner  of  new  methods  for  expressing  the  artistic  yearnings 
of  those  who  are  to  follow  in  ^^ears  to  come.  It  has  indicated  a notable 
advance  in  onr  art;  it  has,  in  spite  of  its  weakness  or  imitation  of  foreign 


AMERICAN  PAINTERS. 


41 


conventional isins,  possessed  certain  traits  entirely  and  distinctively  native; 
and  lias  been  distinguished  by  a nninber  of  artists  of  original  and  some- 
times nnnsual  abilitjg  whose  failure  to  accomplish  all  tliey  sought  was  due 
]-atlier  to  iinfoitunate  circumstances  than  to  the  lack  of  genuine  power, 
which  in  another  age  might  have  done  itself  more  justice. 

It  is  interesting  to  observe  at  this  juncture  that  our  art  was  influenced 
by  exactly  the  same  causes  as  our  litei’ature  of  the  same  ])eriod ; and,  like 
our  national  civilization,  presents  a singular  reaching  after  original  expres- 
sion, modified  sometimes  by  an  unconscious  imitation  of  foreign  thought 
and  methods. 

There  is  one  fact  connected  with  the  early  growth  of  onr  art  which  is 
entirely  contrary  to  the  laws  which  have  elsewhere  governed  the  progress 
of  art,  and  is  nndonhtedly  due  to  the  new  and  anomalous  features  of  onr 
social  economy.  Elsewhere  the  art-feeling  has  nndeviatingly  sought  ex- 
l)ression  first  in  earthen-ware  or  plastic  art,  then  in  architecture  and  sculpt- 
ure, and  finally  in  painting.  We  have  entirely  reversed  this  order.  The 
unsettled  character  of  the  population — especially  at  the  time  when  emigra- 
tion from  the  Eastern  to  the  AVesterii  States  caused  a general  movement 
from  State  to  State — together  with  the  abundance  of  lumber  at  that  time, 
evidently  offered  no  op])ortunity  or  demand  for  any  hut  the  rudest  and 
most  rapidly  constructed  hnildings,  and  anytliing  like  architecture  and 
decorative  work  was  naturally  relegated  to  a later  period  ; and  for  the 
same  reason,  apparently,  the  art  of  sculpture  showed  little  sign  of  demand- 
ing expression  here  until  after  the  art  of  painting  had  already  formulated 
itself  into  societies  and  oluhs,  and  been  repi'esentcd  by  numerous  artists  of 
respectable  abilities. 

The  art-feeling,  which  made  itself  apparent,  vaguely  and  abortively, 
during  our  colonial  period,  began  to  demand  freer  and  fuller  expression 
soon  after  the  new  Eepublic  had  declared  its  independence;  and,  with 
scar(;e  any  })atronage  from  the  Government,  assumed  a degree  of  excel- 
lem^e  sm*prising  under  the  circumstances,  and  raixdy  i-eached  by  a nation 
in  so  short  a time. 

We  recall  no  art  of  the  past  the  order  and  conditions  of  whose  growth 
resend)le  those  of  ours,  exce])t  that  of  Holland  after  its  wars  of  iiule[)en- 
dence  with  Spain.  The  bane  and  the  blessing  of  our  art  have  been  in 
the  enormous  variety  of  influences  which  have  controlled  its  action.  This 
has  been  a bane,  because  it  has,  until  recently,  prevented  the  concentra- 


42 


ART  IN  AMERICA. 


tion  of  effort  wliicli  might  lead  to  grand  results  and  schools.  It  has 
been  a blessings  because  individual  expression  has  thus  found  a vent,  and 
mannerism  has  not  }^ct  become  a conventional  net,  so  thrown  around  our 
art  as  to  pi-event  free  action  and  growtli.  The  American  art  of  the  last 
two  generations  has  resembled  the  restless  activity  of  a versatile  youth, 
who  seeks  in  various  directions  for  the  just  medium  by  wdiich  to  give 
direction  to  his  life-work.  If  there  has  been,  on  the  whole,  a national 
bias  in  one  direction  more  than  another,  it  has  been  for  landscape- 
painting. 

Our  intellectual  state  has  also  resembled  the  many-sided  condition  of 
Germany  in  the  Middle  Ages,  Avaking  up  from  the  chaos  of  the  Dark 
Ages,  but  broken  up  into  different  States,  and  representing  different  re- 
ligions and  races.  But  our  position  has  been  even  more  agitated  and  di- 
verse; a general  restlessness  has  characterized  the  community — a vast 
intellectual  discontent  Avith  tlie  ]>resent.  Although  strongly  moved  by 
pride  of  country,  we  have  also  been  keenly  sensitive  to  foreign  influences, 
and  have  received  impressions  from  them  Avith  the  readiness  of  a photo- 
graphic })late,  although  until  I’ecently  the  result  has  been  assimilation 
rather  than  imitation  ; Avhile  internally  Ave  have  been  trying  to  harmo- 
nize I'ace  and  sectional  differences,  Avliich  as  yet  are  far  from  reaching 
homogeneity. 

Together  Avith  all  these  individual  influences  must  be  included  one  of 
general  application,  to  Avhich  nearly  all  our  artists,  of  whatever  race  or 
section,  have  been  subject  in  tui']i.  In  other  countries  the  people  have,  by 
a long  preparation,  become  read}'  to  meet  the  artist  half-Avay  in  appreciat- 
ing and  aiding  him  in  his  mission,  either  from  the  promptings  of  the  i‘e- 
ligious  sentiiuent  to  Avhich  his  art  has  given  ocular  demonstration,  or  from 
a dominating  and  universal  sense  of  beauty.  AVith  us  it  has  been  quite 
otTei’Avise;  for  the  aifists  have  been  in  advance  of  public  sentiment,  and 
have  had  the  misfortune  to  be  forced  to  wait  until  the  people  could  come 
up  to  them.  In  addition  to  tlie  fact  that  in  New  England  Puritan  influ- 
ences Avere  at  first  opposed  to  aif,  the  I’estless,  surging,  unequal,  Avidely 
differing  character  of  our  people,  brought  face  to  face  Avith  the  element- 
ary problems  of  existence,  founding  new  forms  of  government,  and  Aveld- 
ing  incongruous  factors  into  one  race  and  nation  — in  a Avord,  Avresting 
from  fate  our  right  to  be  — made  us  indifferent  to  the  ideal,  except  in 
sporadic  and  individual  cases,  Avhich  indicated  here  and  there  that  beloAV 


AMERICAN  PAINTERS. 


43 


tlie  surface  the  poetic  sentiirient  was  preparing  to  assert  itself;  and  that 
we,  ill  turn,  were  preparing  to  acknowledge  the  great  truth  that  art  is  an 
instinctive  yearning  of  the  race  to  place  itself  in  accord  with  the  har- 
niony  which  rules  tlie  universe. 

Tlie  result  has  been  tliat  a very  large  proportion  of  the  artists  of  this 
period  of  onr  history  have  been  compelled  to  endure  far  more  than  the 
traditionary  hardships  of  the  profession.  They  have  been  obliged  to 
devote  some  of  tlie  best  years  of  their  lives  to  trade,  and  have  not  been 
able  to  take  up  art  until  late.  To  accuse  American  artists,  as  a class,  of 


PORTRAIT  OF  PARKE  GODWIN. [tHOMAS  LE  CLEAR.] 


being  mercenary  — a charge  made  quite  too  often  — is  really  something 
akin  to  irony,  so  much  more  successful  pecuniarily  would  the  majority  of 
them  have  been  in  mercantile  pursuits.  The  heroism  of  our  early  paint- 
ers, struggling,  in  obscure  corners  of  the  countiT,  for  opportunities  to  cx- 
jiress  their  yearning  after  the  ideal,  without  instruction,  without  art-inllu- 
ences,  meeting  little  or  no  sympathy  or  encouragment,  and  in  spite  of 
these  obstacles  often  achieving  a respectable  degree  of  excellence,  is  one 
of  the  most  interesting,  instructive,  and  sublime  episodes  in  the  history 
of  art. 

Growing  out  of  this  hesitating  condition  of  our  early  art  may  be  dis- 


44: 


AKT  IN  AMERICA. 


cerned  a secondary  cause,  which  occurred  in  so  luauy  cases  as  to  be  justly 
considered  one  of  the  forces  which  formed  the  careful,  uiiimte,  pains- 
taking style  of  much  of  our  landscape  art.  We  refer  to  the  fact  that 
many  of  the  best  of  our  early  painters  were  first  engi-avers  on  wood  and 
steel.  This  gave  them  a minute,  formal,  and  precise  method  of  treat- 
ment, which  led  them  to  look  at  details  rather  than  breadth  of  effect. 

AVhen  w’e  turn  to  the  iiifiuences  from  abroad  which  stimulated  Amer- 
ican art  dui'ing  this  period,  we  find  that,  while  they  fostered  the  growth 
of  a certain  resthetic  feeling,  they  at  the  same  time  instilled  conventioual 
methods  and  principles  that  deferred  the  development  of  a higher  kind 
of  art.  It  is  greatly  to  be  regretted  that,  notwithstanding  the  friendly  re- 
lations between  the  United  States  and  France,  our  art,  when  it  was  first 
looking  to  Europe  for  direction,  should  not  have  come  in  contact  with 
that  of  Fi-ance,  which  at  that  time,  led  by  Gericanlt,  Rousseau,  Troyon, 
Uelacroix,  and  other  rising  men,  was  becoming  the  greatest  pictorial 
school  since  the  Renaissance.  But  Italian  art  at  that  time  was  sunk  to 
the  lowest  depths  of  conventionalism;  while  the  good  in  the  English  art 
of  the  time  was  represented  less  by  a school  than  by  a few^  individuals  of 
genius — Turner,  Wilkie,  Constable — who  were  so  original  that  they  failed 
to  attract  students  whose  first  art  ideas  had  been  obtained  in  Italy. 

The  influence  of  Italy  on  our  early  art  was  showm  by  the  tendency  of 
our  painters  in  that  dii’ection — as  now^  they  go  to  France  and  Germany — 
and  this  was  due  primarily  to  Allston  and  Yanderlyn.  The  latter,  when 
at  Rome,  occupied  the  house  of  Salvator  Rosa — apparently  a trivial  inci- 
dent, but  if  we  could  trace  all  the  influence  it  may  have  had  on  the  fancy 
and  tastes  of  the  young  American  artist,  we  might  find  it  was  a powerful 
contributor  to  the  formation  of  the  early  style  of  the  landscape  artists  who 
followed  him  to  Italy.  This  bias  was  also  greatly  assisted  by  the  many 
paintings  imported  at  that  time  from  the  Italian  peninsula,  which  were 
either  originals,  bought  cheaply  during  the  disturbances  which  then  con- 
vulsed Europe,  or  copies  of  more  or  less  merit.  These  works  made  their 
Avay  gradually  over  our  country,  from  Boston  to  New  Orleans;  and,  with 
the  rapidly  shifting  fortunes  of  our  families,  have  often  been  so  complete- 
ly placed  out  of  sight  and  foi’gotten,  that  it  is  not  an  nnfrequent  instance 
for  one  to  be  unearthed  in  a remote  country  village,  or  farm-house  that 
would  never  be  suspected  of  harboring  high  art. 

The  larger  portion  of  these  foreign  wmrks  came  first  to  Boston,  and 


POllTIlAn'  OK  KI.KTCUKl!  IIAKl’Kll. [('.  I,  KU-IOl'l.  | 


AMEKICAX  PAIXTEES. 


47 


were  hidden  away  soinewliere  in  that  vicinity,  as  in  tlie  case  of  the  collec- 
tion bequeathed  to  Bowdoin  College  by  its  founder  ; whose  best  specimens 
were  eventually  sold  and  scattered  for  a mere  song  by  a faculty  who  were 
iirnorant  of  their  valne,  and  thought  thev  might  at  the  same  time  aid  mo- 
rality  and  add  an  honest  penny  to  the  funds  of  the  institution  by  selling 
its  precious  nudities,  and  thus  remove  them  from  the  student's  eye.  As 
Allston  and  Stuart,  wlio  were  colorists,  also  settled  in  Boston,  after  years 
of  foreign  study,  these  two  circumstances  contributed  to  make  the  Boston 
scliool  from  the  first  one  of  color — a fact  less  pronounced  in  the  early  ai’t 
of  Xew  York. 

•It  is  to  West  and  Allston  and  Trumbull  that  we  are  to  attribute  the 
English  element  in  our  arts.  The  prominent  position  they  then  occupied 
before  the  American  public  made  their  example  and  opinions  of  great 
importance  with  their  countrymen,  and  undoubtedly  conti'ibuted  to  sug- 
gest one  of  the  most  chai'acteristic  traits  of  American  art,  th.at  is,  the  ten- 
dency  to  make  art  a means  for  telling  a story,  which  has  always  been  a 
prominent  feature  of  English  art.  May  we  not  also  trace  to  English  lit- 
erature the  bias  which  unconsciously  led  our  painters  to  tuni  their  atten- 
tion to  landscape  with  a unanimity  that  has  until  recently  made  our  pic- 
torial art  distinctively  a school  of  landscape  painting?  Cowper,  Byron, 
and  AYordsworth  introduced  landscape  into  poetry,  and  undoubtedly  im- 
pelled English  art  in  the  same  direction  ; and  it  was  exactly  at  that  time 
that  our  own  poet,  Bryant,  undoubtedly  infiuenced  at  the  turning-point 
of  his  character  by  AVordsworth’s  solemn  worship  of  natui-e,  was  becom- 
ing the  pioneer  of  American  descriptive  poetry;  while  Infing  was  intro- 
ducing the  picturesque  into  our  literature;  and  Cooper,  with  his  vivid 
descriptions  of  our  forests,  was,  like  Irving,  creating  a whole  class  of  sub- 
jects that  were  to  be  illustrated  by  the  American  artists  of  this  period. 

The  infiuences  cited  as  giving  direction  to  the  struggling  efforts  of  art 
in  our  country  during  the  early  part  of  this  century  are  illustrated  with 
•es})ecial  force  by  five  portrait,  figure,  and  landsca[)e-paintcrs,  who  may  al- 
most be  considered  the  founders  of  this  peilod  of  our  art — Harding,  AYeii\ 
Cole,  Doughty,  and  Durand. 

Chester  Harding  was  a farmer's  son,  wlio,  after  an  apprenticeship  in 
agriculture,  took  up  the  tiade  of  chair-maker  at  twenty-one,  tlie  time  when 
the  young  Parisian  artist  has  already  won  his  Pri,v  de  Pome.  .Vfter  this 
lie  tri6d  various  othei’  pi-ojects,  including  those  of  }>eddling  and  the  keep- 


48 


ART  IN  AMERICA. 


iiig  of  a tavern;  and  tlien  took  Ids  wife  and  cldld  and  floated  on  a flat- 
boat  down  the  Alleglianj  to  Pittsburgh — at  tliat  time  a mere  settlement — 
in  search  of  sometliing  by  whicli  to  earn  a bare  living.  There  he  took  to 
sign-painting ; and  it  was  not  until  his  twenty-sixth  year  that  the  idea  of 
becoming  a professional  artist  entered  his  head.  An  itinerant  portrait- 
painter  coming  to  the  place  first  suggested  the  idea  to  Harding,  who 
engaged  him  to  paint  the  portrait  of  Mrs.  Harding,  and  took  his  first  art- 


AN  IDEAL  HEAD. [g.  A.  BAKER.] 


lesson  while  looking  over  the  artist’s  shoulder  ; and  his  first  crude  at- 
tempts so  fascinated  him  that  he  at  once  adopted  art  as  a profession, 
and  in  six  months  painted  one  hundred  likenesses,  such  as  they  were,  at 
twenty-five  dollars  eacli,  and  then  settled  in  Boston,  where  he  seems  to 
have  been  taken  np  with  characteristic  enthusiasm.  On  going  to  England, 
Harding,  notwithstanding  the  few  advantages  he  had  enjoyed,  seemed  to 
compare  so  favorably  with  ])ortrait-paintei‘S  there  that  he  was  patronized 


AMERICAN  PAINTERS. 


49 


by  the  first  noblemen  of  the  land.  Althongli  belonging  also  to  the  latter 
part  of  the  period  immediately  preceding  that  now  under  consideration, 
yet  Harding  was,  on  the  whole,  an  important  factor  in  the  art  which  dates 
from  the  founding  of  the  National  Academy,  and  was  one  of  the  strong- 
est of  the  group  of  portrait-painters  natm’ally  associated  with  him,  such 
as  Alexander,  Waldo,  Jarvis,  and  Ingham.  There  was  something  grand 
ill  the  personality  of  Harding,  not  only  in  his  almost  gigantic  physicpie 
but  also  his  sturdy,  fraidc,  good-natured,  but  earnest  and  indomitable  char- 
acter, which  causes  him  to  loom  up  across  the  intervening  years  as  a type 
of  the  people  that  have  felled  forests,  reclaimed  waste  places,  and  given 
thews  and  sinews  to  the  Republic  that  in  a brief  century  has  placed  itself 
in  tlie  front  rank  of  nations. 

While  Harding,  with  all  his  artistic  inequalities,  fairly  represented  the 
portrait  art  of  Boston  at  that  period,  Henry  Inman  may  be  considered  as 
holding  a similar  position  in  New  York.  As  a resident  of  that  city  and  a 
pupil  of  Jarvis,  he  enjoyed  advantages  of  early  training  superior  to  those 
of  most  of  our  painters  of  that  day.  Exceedingly  versatile,  and  excelling 
in  miniature,  and  doing  fairly  well  in  genre  and  landscape,  Inman  will  be 
best  known  in  future  years  by  his  admirable  oil  portraits  of  some  of  the 
leadiim  characters  of  the  time.  He  was  a man  of  ^reat  streno'th  and 

O O O 

symmetry  of  character,  who  would  have  won  distinction  in  any  field,  and 
his  early  death  was  a misfortune  to  the  country. 

New  York  became  the  centre  for  a number  of  excellent  and  character- 
istic poi’trait-pai liters  soon  aftei*  Inman  established  his  reputation — such  as 
Charles  Boring  Elliott,  Baker,  Hicks,  Be  Clear,  Huntington,  and  Rage,  the 
contemporaries  of  Healy,  Ames,  Hunt,  and  Staigg,  of  Boston,  and  Sully, 
of  Philadelphia — all  artists  of  individual  styles  and  characteristic  ti’aits  of 
their  own.  Sully,  owing  to  his  great  age,  really  belonged  also  to  the  pre- 
ceding period  of  our  art. 

In  Elliott  we  probably  find  the  most  inq^ortant  portrait-painter  of  this 
period  of  American  art.  It  was  a peculiarity  of  his  intellectual  growth 
that  oidy  by  degrees  did  he  arrive  at  the  point  of  being  able  to  seize  a 
simple  likeness.  But  it  is  not  at  all  uncommon  for  genius  to  falter  in  its 
lirst  attempts;  and  Elliott  was  one  of  the  few  artists  we  have  ])roduced 
who  could  b(i  justly  ranked  among  men  of  genius,  as  distiuguished  from 
those  of  talents,  however  marked.  Stuai’t  excelled  all  our  ])ortrait-painters 
in  purity  and  freshness  of  color  and  masterly  control  of  [)igments;  but  he 

4 


50 


ART  IN  AMERICA. 


was  scarcely  inoi-e  vigorous  than  Elliott  in  the  wondrous  faculty  of  grasp- 
ing chai'auTer.  IFerein  lay  this  artist’s  strength.  lie  read  the  heart  of 
the  man  he  portrayed,  and  gave  us  not  merely  a faithful  likeness  of  his 
^nitward  features,  but  an  epitome  of  his  intellec-tual  life  and  traits,  almost 
I'lntching  and  bringing  to  light  his  most  secret  thoughts.  In  studying  the 
portraits  of  Elliott  we  learn  to  analyze  and  to  discern  the  essential  and 
iri’econcilable  difference  between  photography  and  the  highest  order  of 


“the  judgment  of  PARIS.” [lIENRY  PETERS  GREY.] 


AMERICAN  PAINTERS. 


51 


painting.  TJie  snn  is  a great  magician,  but  lie  cannot  reproduce  more 
than  lies  on  the  surface — lie  cannot  sno-gest  the  soul.  lie  is  like  a truth- 
fill  but  unwilling  witness,  who  gives  only  part,  and  not  always  the  best 
part,  of  the  truth.  But  then  the  genius  of  the  great  artist  steps  in,  com- 
pletes the  testimony,  and  presents  before  ns  suggestions  of  the  immortal 
being  that  shall  survive  when  tlie  mortal  frame  and  the  sun  which  photo- 
graphs it  have  alike  passed  awa\\ 

Baker,  on  the  other  hand,  has  excelled  in  rendering  the  delicate  color 
and  loveliness  of  childhood,  and  tlie  splendor  of  the  linest  types  of  Ameri- 
can feminine  beauty.  The  miniatures  of  Staigg  are  also  among  the  most 
winning  works  of  the  sort  produced  by  our  art.  Among  other  excellent 
miniature-painters  of  this  period  was  Miss  Goodrich,  of  whose  personal 
history  less  is  known  than  of  any  other  American  artist. 

William  Page  occupies  a phenomenal  position  in  the  art  of  this  period, 
because,  unlike  most  of  our  painters,  lie  has  not  been  content  to  take  art 
methods  and  materials  as  he  found  them,  but  has  been  an  experimental- 
ist and  a theorist  as  well,  and  tlierefore  belongs  properly  to  more  recent 
phases  of  our  art.  Thus,  while  he  has  achieved  some  singularly  successful 
works  in  portraiture  and  historical  painting,  he  has  done  much  that  has 
aroused  respect  rather  than  enthusiasm. 

If  less  refined  in  aim  and  treatment  than  Page  in  his  rendering  of 
female  beauty,  Henry  Peters  Grey,  who  was  also  an  earnest  student  of 
Italian  Penaissance  art,  succeeded  sometimes  to  a degree  which,  if  far  be- 
low that  of  the  masters  whom  ho  studied,  was  yet  in  advance  of  most  of 
such  art  as  has  been  executed  by  American  painters,  at  least  until  very 
recently.  ‘‘The  Judgment  of  Paris”  is  certainly  a clever  if  not  wholly 
original  work,  and  the  figure  of  Venus  a fine  piece  of  form  and  color. 

Daniel  Iluntington,  the  tliird  president  of  the  Xational  Academy  of 
Design,  is  a native  of  Tsew  York  city,  and  has  enjoyed  advantages  and 
successes  experienced  by  very  few  of  onr  early  artists.  A ])iipil  of  ^lorse 
and  Inman,  he  is  better  known  by  the  men  of  this  generation  as  a pleas- 
ing ])ortrait-painter ; but  tlie  most  ini[)ortant  of  his  early  efforts  were  in 
what  might  be  called  a semi  - literary  style  in  (jenve  and  historical  and 
allegoric.al  or  I’eligious  art,  in  which  de[)artments  he  has  won  a perma- 
nent ]dace  in  our  annals  by  such  com})ositions  as  “Mercy’s  Di'oam,” 
“The  Sibyl,”  and  “Queen  ]\Iary  Signing  the  Death-warrant  of  Jauly  Jane 
Grey.” 


52 


AKT  IN  AMERICA. 


While  portraiture  has  been  the  field  to  which  most  of  onr  leading 
painters  of  the  figure  have  directed  tlieir  attention  during  this  period, 
(jenre  has  been  represented  by  several  artists  of  decided  ability,  who,  under 
more  favorable  art  aiis[)ices,  might  have  achieved  superior  residts.  Inman 
was  one  of  the  first  of  our  artists  to  make  satisfactory  attempts  in  genre. 
If  circumstances  had  allowed  him  to  devote  himself  entirely  to  any  one  of 
the  three  branches  he  pursued,  he  might  have  reached  a higher  position 
than  he  did.  But  the  most  important  genre  artist  of  the  early  })art  of  this 
period  was  William  Sidney  Mount,  the  son  of  a farmer  on  Long  Island, 
xlssociated  first  with  his  Imother  as  a sign-})ainter,  he  eventnall}",  in  1828, 
took  up  genre  painting.  Mount  lacked  ambition,  as  he  himself  confessed; 
he  was  too  easily  infiuenced  by  the  rapidly  Avon  approval  of  the  public  to 
cease  improving  his  style,  and  early  returned  to  his  farm  on  Long  Island. 
Mount  Avas  not  remarkable  as  a colorist,  although  it  is  cpiite  possible  he 
might  have  succeeded  as  such  Avith  superior  advantages;  but  he  was  in 
other  respects  a man  of  genius,  Avho  as  such  has  not  been  surpassed  by  the 
numerous  genre  artists  Avhom  he  preceded,  and  to  Avhom  he  shoAved  by  his 
example  the  resources  Avhich  our  native  domestic  life  can  furnish  to  the 
genre  painter.  This  American  Wilkie  had  a keen  eye  for  the  humorous 
traits  of  our  rustic  life,  and  rendered  them  Avith  an  effect  that  sometimes 
suggests  the  old  Dutch  masters.  ‘Mdie  Long  Story”  and  ‘‘Bargaining  for 
a Horse”  are  full  of  inimitable  touches  of  humor  and  shrewd  observations 
of  human  nature.  F.  W.  Edmonds,  avIio  Avas  a contemporary  of  Mount, 
although  a bank  cashier,  found  time  from  his  business  to  produce  many 
clever  genre  paintings,  shoAving  a keener  eye  for  color,  but  less  snap  in  the 
draAving  and  composition,  than  Mount. 

In  other  departments  of  the  figure  at  this  period  of  our  art,  Robert  W. 
AYeir  holds  a prominent  position  as  one  of  our  pioneers  in  the  distinctiA'e 
branch  called  historical  painting.  Of  Huguenot  descent,  and  gaining  his 
artistic  training  in  Italy,  after  severe  struggles  at  home,  his  career  illus- 
trates several  of  the  infiuences  Avhich  have  been  most  apparent  in  forming 
American  art.  Although  not  a servile  imitator  of  foreign  and  classic  art, 
and  shoAving  independence  of  thought  in  his  practice  and  choice  of  sub- 
jects, AVeir’s  style  is  pleasing  rather  than  vigorous  and  original.  It  shoAvs 
care  and  loving  patience,  as  of  one  Avho  appreciates  the  dignity  of  his  pro- 
fession, but  no  marked  imaginative  foi*(;e,  nor  does  he  introduce  or  suggest 
any  ncAv  truths.  Such  a massiA’e  composition, hoAvever,  as  the  “Sailing  of 


“ MIRANDA.” [dAMKI.  Ill  NTINDTON.  ] 


AMERICAN  PAINTERS. 


55 


the  Pilgrims,”  while  it  scarcely  arouses  enthusiasm,  causes  us  to  wonder 
that  we  should  so  early  have  produced  an  art  as  conscientious  and  clever 
as  this.  The  portrait  of  Red  Jacket,  and  the  elaborate  painting  called 
‘^Taking  the  Veil,”  are  also  works  of  decided  merit.  Enjoying  a serene 
old  age,  this  revered  painter  yet  survives,  still  wielding  his  brush,  and 
annually  exhibiting  creditable  pictures  in  the  Academy. 


“a  surprise.” — [william  SIDNEY  MOUNT.] 


In  the  works  of  the  figure-painters  we  have  spoken  of  there  is  evident 
an  earnest  pursuit  of  art,  attended  sometimes  with  very  respectable  results; 
but,  with  the  exception  of  here  and  there  a portrait-jiaiiiter  of  real  genius, 
we  do  not  discover  in  their  paintings  much  that  is  of  value  in  the  history 
of  art,  excc'pt  as  indicating  the  existence  of  genuine  a^stluTic  feeling  in  the 
country  demanding  expression  in  however  hesitating  and  abortive  a man- 
ner. Hut  when  we  come  to  the  subject  of  landscape-painting,  we  imter 
upon  a lield  in  which  originality  of  style  is  a.p[)ar(Mit,  and  a certain  ciuisist- 
ency  and  harmony  of  effoi’t.  Minds  of  large  reserve  jiower  meet  us  at  llu' 
outset,  mo\ed  by  strong  and  eaiaiest  com  ictions,  and  often  ('.xpressing  their 


56 


ART  IN  AMERICA. 


tlionglits  ill  methods  entirely  their  own.  Thoroughly,  almost  fanatically, 
national  by  nature,  even  when  their  art  shows  traces  of  foreign  influence, 
and  drawing  their  subjects  from  their  native  soil,  tliey  have  created  an  art 
v.diich  can  fairly  claim  to  be  ranked  as  a school,  whatever  be  tlie  position 
assigned  to  it  in  future  ages.  English,  French,  Irish,  African,  and  Spaniard 
have  alike  vied  in  painting  the  scenei’y  of  this  beautiful  country,  and  min- 
gling their  fame  and  identifving  their  lives  wdth  “its  hills,  rock-ribbed  and 
ancient  as  the  sun,”  its  mountain  streams  and  meadow  lands,  its  primeval 
forests,  and  the  waves  that  break  upon  its  granite  shores. 

It  is  to  three  artists  of  great  natural  ability  that  the  origin  of  Ameri- 
can landscape-painting  can  be  traced — Cole,  Doughty,  and  Durand.  Al- 
tlioiigh  the  youngest  of  the  three,  the  first  seems  to  have  antedated 
Doughty  by  a few  months  in  adopting  this  branch  of  art  professionally; 
while  Dui-and,  older  than  Cole  by  several  years,  yet  did  not  take  up  land- 
scaj)e-painting  until  some  years  after  him. 

Thomas  Cole  died  in  the  prime  of  life,  at  the  age  of  forty-seven,  but 
there  are  few  chai'acters  in  the  history  of  the  country  that  have  made  a 
deeper  impression.  Singularly  versatile,  inspired  by  a powerful  imagina- 
tion, })ossessiiig  a pure  and  lofty  character,  and  animated  by  the  noblest  of 
sentiments,  we  feel  befoi-e  his  greatest  works — through  all  the  imperfec- 
tions of  his  art,  through  all  the  faltering  methods  wdth  wdiich  his  gen.ius 
sought  to  express  itself — that  a vast  mind  here  sought  feebly  to  utter  great 
thoughts  (which  he  has  doubtless  already  learned  to  utter  wdth  more  truth 
in  another  wmild);  w’e  see  that  unmistakable  sign  of  all  minds  of  a higli 
order,  the  evidence  that  the  man  w\as  greater  than  his  w'orks.  It  is  not 
dexterity,  technique,  knowledge,  that  impresses  us  in  studying  the  works 
of  Cole,  so  much  as  character.  One  feels  that  in  tliein  is  seen  the  hand- 
wu‘itim»’  of  one  of  the  greatest  men  who  have  ever  trod  this  continent. 

Thomas  Cole,  the  first  artist  who  ever  painted  landscape  professionally 
in  America — unless  wm  except  the  few  faltering  landscape-paintings  of 
John  Frazei*,  the  miniature  artist  of  the  previous  century  — was  born  in 
England,  but  he  was  of  American  ancestry,  and  his  parents  returned  to 
this  country  in  his  childhood.  The  difliculties  wdth  wdiich  he  had  to  con- 
tend at  the  outset  of  his  art  career  form  an  affecting  picture.  From  in- 
fancy he  had  been  fond  of  the  pencil ; and  the  tinting  of  wuill-paper  in  his 
father’s  factory  at  Steubenville,  Ohio,  gave  him  a slight  practice  in  the 
harmony  of  colors.  In  the  mean  time  he  took  up  engi’aving,  but  w^as 


AMERICAN  PAINTERS. 


57 


TAK1N(J  TlllO  VKJL.” 1 KOBKRT  WKIK.  | 


diverted  from  tliis  ])ursuit  by  a travellinij^  (ierman  ])(>rtrait-|):iiiit('r,  wlio 
gave  him  a few  lessons  in  the  use  of  oil-eolors.  lie  began  M’illi  ])(n*trait- 
nre,  and  i-esolved  to  l)e  an  artist,  altliongli  the  failure  of  his  fatlier’’s  busi- 
ness hroiiglit  the  whole  family  on  him  for  support.  The  struggh's  through 
whieh  the  youth  now  passed  make  a long  and  [)ainful  story.  Through  it 
all  he  retained  his  bias  foi‘  Jirt,  and  at  twenly-two  Ix'gan  to  draw’  seenery, 
fi’om  natiii'(*,  along  th(3  hanks  of  the  IMonongahehi.  I)unhip  has  w(dl  said, 
‘‘ d'o  me  the  striigghis  of  a \ irt  uoiis  man  endeavoring  to  bullet  (ortuue, 


58 


ART  IN  AMERICA. 


steeped  to  tlie  very  lips  in  poverty,  yet  never  despairing,  or  a moment  ceas- 
ing his  exertions,  is  one  of  the  most  sublime  objects  of  contemplation.” 

After  several  years  of  this  severe  hardship.  Cole  finally  drifted  to  Aew 
York,  and  eventually  attracted  notice.  When  the  National  Academy  of 
Design  was  founded  in  1828,  Cole  and  Doughty  were  simultaneously  win- 
ning success,  and  giving  a permanent  character  to  tlie  art  wliich  for  half  a 
century  was  destined  to  be  most  prominent  on  the  waills  of  tlie  Academy. 

So  far  as  foreign  technical  influences  can  be  ti-aced  in  the  compositions 
of  Cole,  they  are  those  of  Claude  and  Salvator  Kosa.  He  revisited  Eng- 
land at  the  time  when  Turner  and  Constable  were  establisliino-  their  fame, 
and  producing  such  an  influence  on  the  great  school  of  French  landscape 
art  which  has  since  succeeded.  It  is  interesting  to  think  what  would  have 
been  the  character  of  our  landscape  ai't  if  Cole  had  been  favorably  im- 
pressed by  the  broad  and  vigorous  style  of  these  painters.  But  he  does 
not  seem  to  have  been  ripe  for  the  audacious  and  sometimes  more  truth- 
ful methods  of  modern  landscape,  and  expressed  himself  with  warmth 
regardiim;  what  he  considered  the  extravairances  of  Turner. 

The  art  of  Cole  was  however,  largely  biassed  by  the  literature  of  Eng- 
land. The  influence  of  both  Biniyan  and  Walter  Scott  can  be  traced  in 
his  works;  while  the  serious  turn  of  his  mind  gave  a solemn  majesty  and 
a religions  fervor  to  his  compositions,  which  command  our  deep  respect, 
even  when  w^e  fail  altogether  to  concede  complete  success  to  his  artistic 
eftorts.  For  this  reason  Cole  has  wielded,  more  than  most  of  our  artists,  a 
powerful  influence  outside  of  his  art  with  a people  which,  with  all  its  vola- 
tility, yet  maintains  the  traditions  of  a deeply  religious  ancestry.  It  was 
in  this  main^-sidedness  of  his  genius,  that  brought  him  into  contact  with 
wfldely  varied  sympathies,  that  Cole’s  chief  power  consisted ; for  if  we  look 
at  his  wmrk  fi-om  the  art  point  of  view  alone,  we  are  impressed  with  its  in- 
equality, the  huflv  of  early  art  influences  which  it  exhibits,  and  an  attenq>t 
sometimes  at  divamatic  force  which  occasionally  lapses  into  mere  sensation- 
alism. But  in  all  his  compositions  there  are  evident  a rapturous  love  of 
nature,  and  the  enei’gy  and  yearning  of  a mind  seeking  to  find  expression 
for  a vast  ideal.  Cole  was  what  very  few  of  our  artists  have  been — an 
idealist.  The  work  by  which  he  will  be  longest  and  best  I’emembered  in 
the  art  of  his  country  is  the  noble  series  called  the  “Course  of  Empire,” 
consisting  of  five  paintings,  representing  a nation’s  rise,  progress,  decline, 
and  fall,  and  the  change  which  comes  over  the  abandoned  scenery  as  the 


AMERICAN  PAINTERS. 


59 


once  superb  capital  I’eturns  to  the  wildness  and  solitude  of  nature.  The 
last  of  the  series,  entitled  ‘‘Desolation” — a gray  silent  waste,  haunted  by 
the  bittern,  with  here  and  there  a crumbling  column  reflected  in  the  de- 
serted harbor,  where  gleaming  fleets  once  lioated,  and  imperial  pageants 
were  seen  in  the  pavilions  along  the  marble  piers  — is  one  of  the  most 
I’emarkable  productions  of  American  art.  But  with  all  the  enthusiasm 
which  Cole  aroused  among  his  contemporaries,  his  influence  seems  to  have 


“desolation.” — [from  “the  course  of  empire,”  by  THOMAS  COLE.] 

been  to  give  dignity  to  landscape  art  rather  than  to  impress  his  thoughts 
and  methods  on  other  artists.  It  is  true  that  he  seized  the  characteristics 
of  our  scenery  with  a truth  which  came  not  only  from  close  study,  but  also 
from  deep  affection  for  the  land  whose  mountains  and  lakes  he  painted, 
and  thus  led  our  first  landscapists  to  observe  the  great  \ai-iety  and  beauty 
of  their  own  country.  But,  on  the  other  hand,  a certain  hardness  in  his 
technique  probably  rendered  him  less  inlluential  as  a leader  than  Doughty 
and  Durand.  The  former,  if  inferior  in  general  capacity  to  Cole,  was 
more  emphatically  the  artist  by  nature. 

Tliomas  Doughty  was  in  the  leather  business  until  his  twenty -eighth 
year,  when,  without  any  previous  ti'aining,  ho  threw  up  the  ti’ade,  and 
adopted  the  profession  of  landsca[)e-painter.  There  is  an  audacity,  a self- 


60 


ART  IN  AMERICA. 


confidence,  in  the  way  onr  early  painters  entei'ed  on  the  art  career,  without 
instruction  in  the  theory  and  practice  of  tlieir  art,  which  is  charming  for 
the  simplicity  it  shows,  but  would  tend  to  bring  the  efforts  of  these  artists 
into  contempt  if  the  results  had  not  often  justified  their  audacity,  for  they 
were  sometimes  men  of  remarkable  ability.  There  have  been  many  great- 
er landscape-painters  than  Doughty,  but  few  who  have  done  so  well  with 
such  meagre  opportunities  for  instruction.  He  seems,  also,  to  have  been 
successful  in  attracting  favorable  notice  in  England  as  well  as  here,  al- 
though at  a time  when  English  landscape  art  wvas  at  its  zenith.  Tlie  soft, 
poetic  traits,  the  tender,  silvery  tones,  that  distinguished  Doughty’s  style, 
wxu'e  entirely  original  with  him,  and  have  undoubtedly  had  much  influence 
in  forming  the  style  of  some  of  the  landscapists  who  succeeded  him. 

In  Asher  B.  Durand,  a Huguenot  by  descent,  and  the  only  one  of  the 
three  founders  of  American  landscape-painting  who  survives  to  our  time 
to  enjoy  a green  old  age,  we  find  a nature  as  strong  as  that  of  Cole.  The 
equal  of  that  artist  in  the  sum  of  his  intellectual  powers,  we  discover  in 
him  a different  quality  of  mind.  Similar  as  they  are  in  high  moral  pur- 
pose and  a profound  reverence  for  the  Creator,  as  represented  in  his 
w’orks.  Cole  was  the  most  imaginative  and  inspirational  of  the  two,  stirred 
more  by  the  fire  of  genius;  while  Dui-and,  with  a more  equable  tempera- 
ment and  a larger  experience,  produced  results  that  are  more  satisfactory 
from  an  art  point  of  view. 

Eew  artists  have  shown  greater  capacity  than  Durand  in  successfully 
following  entirely  distinct  branches  of  art.  As  a steel-engraver,  who  in 
this  century  has  produced  work  that  is  much  superior  to  his  superb  en- 
graving of  Yanderlyn’s  ‘‘ Ariadne  AVho  of  our  artists  has  been  able 
both  to  design  and  to  engrave  such  a work  as  his  ^^Musidora?”  After 
employing  the  burin  so  admirably,  he  took  up  portrait-painting,  and  by 
such  };ortraits  as  his  head  of  Bryant  placed  himself  by  the  side  of  our 
leading  portrait-painters.  Still  unsatisfied  with  the  success  won  thus  far, 
Durand,  in  his  thirty-eighth  year,  directed  his  efforts  to  landscape-painting, 
and  at  once  became  not  only  a pioneer  but  a master  in  this  department. 
The  care  he  had  been  obliged  to  give  to  engraving  Avas  undoubtedly  of 
great  assistance  to  him  in  enabling  him  to  render  the  lines  of  a composi- 
tion wuth  truth;  Avhile  his  practice  of  studying  character  in  portraiture 
gave  him  insight  into  the  individuality  of  trees — he  invested  them  with  a 
humanity  like  that  which  the  ancient  Greeks  gave  to  their  forests  Avhen 


rm 


sni>v  FROM  NATURK. — [a.  U.  DLRAND.J 


AMERICAN  PAINTERS. 


G3 


they  made  them  the  liaimt  of  tiie  dryads.  It  is  to  this  that  we  doubtless 
owe  tlie  massive  handling,  tlie  fresh  and  vigorous  treatment  of  trees  in 
such  solemn  and  majestic  landscapes  as  “The  Edge  of  the  Forest,”  in  the 
Corcoran  Gallery  at  Waslnngton.  The  art  of  Durand  is  wholly  national; 
few  of  onr  painters  owe  less  to  foreign  inspiration.  Here  he  learned  the 
various  arts  tliat  gave  liini  a tilple  fame,  here  he  found  the  subjects  for 
Ills  compositions,  and  his  name  is  destined  to  endure  as  long  as  American 
art  shall  endure. 

Among  the  most  prominent  of  the  landscape-painters  who  succeeded 
the  founders  of  the  art  among  ns,  and  were,  like  tliem,  inspired  h}’  a rev- 


“NOON  15Y  THE  SEA-SHORE.” BEVERLY  BEACH. — [j.  F.  KENSETT.] 


erent  spirit  and  lofty  poetic  impulses,  John  E.  Kensett  holds  a command- 
ing position.  Like  Durand,  he  began  his  career  wdth  the  burin,  and  after 
working  for  the  American  Bank-note  Company,  drifted  into  painting. 
Circumstamjes  seem  to  have  favored  him  beyond  many  of  his  compeers, 
and  he  was  early  permitted  to  visit  England  and  the  Continent,  and  spent 
seven  years  abroad.  Notwithstanding  so  long  an  association  with  foreign 
schools,  especially  the  Italian,  we  find  very  little  evidence  of  foreign  aiT 
in  the  style  of  Jvensett.  lie  was  fnlly  as  original  as  Durand,  and  saw 
and  ret)i’esented  nature  in  his  own  language.  II is  methods  of  rendering 
a bit  of  landscape  were  tender  and  harmonious,  and  entirely  free  from 
any  attempt  at  sensationalism.  8o  marked  was  the  latter  characteristic 
especially,  that  l)efoi'e  the  great  modern  question  of  the  values  began  to 


G4:  art  in  AMERICA. 

arouse  niucli  attention  in  tlie  ateliers  of  Paris,  Kensett  liad  already  grasp- 
ed the  perception  of  a theory  of  art  practice  which  lias  since  become  so 
prominent  in  foreign  art;  althougli,  naturally,  it  is  not  in  all  his  canvases 
that  this  attempt  to  interpret  the  true  relations  of  objects  in  nature  is 
e(piallv  evident.  We  see  it  brought  out  most  prominently  in  some  of  his 
(piiet,  dreamy  coast  scenes,  in  whicli  it  is  not  so  much  things  as  feelings 
that  he  tries  to  render  or  suggest.  In  them  also  is  most  apparent  an 
endeavor  after  breadth  of  effect,  which  is  a sign  of  mastery  when  success- 
fully carried  out.  Mr.  Keusett’s  art  consisted  in  a certain  inimitably 
winning  tenderness  of  tone  — a subtle  poetic  suggestiveness.  Ills  small 
compositions,  as  a rule,  are  more  satisfying  than  his  larger  pictures,  in 
which  the  thinness  of  his  technicpie  is  sometimes  too  prominent.  The 
career  of  Kensett,  who  died  but  a few  years  ago,  is  one  of  the  most  com- 
plete and  symmetrical  in  our  art  history. 

A contemporary  of  Kensett,  but  still  surviving  him,  George  L.  Brown, 
of  Boston,  struggled  heroically  and  successfully  with  the  early  difficulties 


“ALTORF,  BmTH-PLACE  OF  WILLIAM  TELL.” [OEORGE  L.  BROWiN.] 

of  his  life;  and,  yielding  to  the  seductive  inffuences  of  Italian  scenery, 
devoted  his  art  to  I'epresentmg  it,  with  results  that  entitle  him  to  an  hon- 


AMERICAN  PAINTERS. 


G5 


orable  position.  The  effects  he  lias  sought  are  Inininonsness  and  color. 
Mr.  Brown’s  method  of  using  colors  was  formed,  to  a certain  extent,  on 
that  of  the  Italian  landscape  art  of  tlie  time;  and,  while  often  brilliant 
and  poetic,  reminds  ns  sometimes  of  the  studio  rather  than  of  the  free, 
pure,  magical  opulence  of  the  atmosphere  and  sunlight  of  the  scenery  he 
portrayed.  It  can  be  fi-ankly  conceded,  however,  that  he  has  been  no 
slavish  copyist  of  a style ; but  wliile  acknowledging  the  force  of  foreign 
influences,  has  yet  given  abundant  evidence  of  a personality  of  his  own; 
and  in  such  works  as  his  “ Bay  of  Kew  York,”  which  is  owned  by  the 
Prince  of  Wales,  and  some  of  his  views  among  the  liquid  streets  of  Venice 
lined  with  mouldering  palaces,  and  skimmed  by  gondolas  darting  hither 
and  thither  like  swallows,  he  has  shown  himself  to  be  a true  poet  and  an 
admirable  painter. 


G6 


ART  IN  AMERICA. 


III. 


AMERICAN  PAINTERS. 


1828-1878. 


'O  scliool  of  art  ever  came  more  rapidly  into  being  than  tlie  landscape 


school  which  owes  its  rise  to  Cole,  Donglity,  and  Durand.  Up  to 
tliis  time  portraiture  had  been  the  held  in  Vvdiich  American  painters  had 
achieved  tlieir  most  signal  successes.  Dnt  now  the  majority  of  our  artists 


forty  years  a long  list  of  painters  have  made  the  public  familiar  with  their 
native  land,  and  have  thus,  at  the  same  time,  stimulated  a popular  interest 
in  art. 

It  is  inipossihle  to  mention  here  more  than  a few  of  those  who,  as  land- 
scape-painters, have  won  a local  or  national  reputation  among  us.  Nor  is 
it  essential,  while  recognizing  the  gi'eat  importance  and  undoubted  merit 
of  our  landscape  art,  to  exaggerate  its  relative  value  and  position.  While 
it  has,  in  most  cases,  been  the  result  of  a true  artistic  feeling  and  a gen- 
uine, if  not  very  demonstrative,  enthusiasm  for  nature  on  the  part  of  the 
artists  who  have  devoted  theii*  lives  to  its  pursuit,  and  while  it  has  given 
us  much  that  is  pleasing,  much  that  is  improving,  much  that  is  poetic,  and 
occasionally  some  examples  of  a high  order  of  landscape-painting  — yet, 
as  a whole,  our  school  of  landscape  seems  scarcely  to  be  entitled  to  the 
highest  ran.k.  The  wonder  is  that  it  has  been  of  such  average  excellence, 
for  the  environing  conditions  have  apparently  not  been  favorable.  The 
influences  among  which  it  spiMing  have  been  so  often  prosaic  or  unin- 
spiring, that,  notwithstanding  its  fertility,  we  And  the  result  to  lean  to 
quantity  rather  than  quality.  The  ideal  and  emotional  elements  in  aiT 
have  not  been  siifiiciently  dominant;  while  the  topographical  and  the 
mechanical  notions  regarding  the  end  of  landscape  art  have  prevailed. 

Until  recently  this  school  has  contented  itself  with  the  siiperflcial  as- 


of  ability  turned  their  attention  to  the  representation  of  scenery;  and  for 


lUlOOK  IN  TIIK  WOODS. 


[WOKTIIINOTON  AVIIiTTUKDOK.  | 


J ■ ' 


" ■'  - l-V 


C**i  . 


j- 


,J  -■ . 


--. ; ;,v<!  '..‘i! 


• '-1 


AMEEICAX  PAIXTEES. 


69 


pect  of  nature  rather  than  with  the  subtle  suggestions  bv  which  it  appeals 
to  the  soul.  An  absence  of  imaginative  power  has  been  too  apparent,  and 
a lack  of  the  energy  and  earnestness  born  of  large  natures  and  absorbing 
enthusiasm  ; and  the  abundant  variety  or  individuality  of  style,  while  in- 
dicating self-reliant,  independent  action,  sometimes  has  also  been  a result 
of  the  want  of  solid  training,  or  failure  to  grasp  the  accepted  principles 
which  underlie  art  pi-actice.  There  has  been  a general  average  of  native 
ability  in  the  artists — a certain  dead  level  of  excellence  in  the  quality  of 
the  works  olfered  at  our  annual  exhibitions — which  was  good  as  far  as  it 
went;  but,  except  on  rare  occasions,  it  seldom  arrested  and  enchained  at- 
tention by  the  expression  of  daring  technique  or  imaginative  power,  as  the 
outcome  of  concerted  influences  exerted  in  one  direction,  and  resulting  in 
typical  representative  minds  of  vast  resources,  bounding  into  tlie  arena  and 
challenging  the  admiration  of  the  world.  Artists  we  have  undoubtedly 
had  occasionally,  during  this  period,  who  have  been  endowed  with  genius 
to  will  renown ; but  they  have,  like  Cole,  either  lacked  tlie  training  and 
influences — the  long  succession  of  national  heredity  in  art  practice  which 
are  well-nigh  indispensable  to  the  highest  success;  or,  like  Church,  yield- 
ing to  the  impulse  of  a prosaic  environment,  they  have  stopped  short  of 
the  hio’hest  flights  of  art,  and  their  imagination  has  been  curbed  to  the 
subordinate  pursuit  of  rendering  the  actual  rather  than  the  ideal. 

In  technique,  also — if  we  may  be  permitted  modestly  to  express  an 
opinion  on  the  subject — this  school  has  seemed  to  be,  on  the  whole,  weak 
and  vacillating,  being  impelled  by  no  deflnite  aim.  It  has  dealt  with 
detail  rather  than  masses ; it  has  concerned  itself  with  parts  rather  than 
general  effect.  Thus,  while  the  rendering  of  details  has  sometimes  been 
given  witli  great  fldelity,  the  spirit  of  the  scene  has  eluded  the  artist,  and 
a work  which  dazzles  us  at  first,  fails,  therefore,  to  hold  the  imagination  of 
the  observer,  and  becomes  flat  and  insipid  on  repeated  inspection.  The 
reverse  is  the  case  with  works  of  art  of  the  first  order. 

AVe  also  find  in  the  art  of  this  school  weakness  in  a knowledge  of — or 
at  least  in  the  power  of  appreciating  — the  vast  significance  of  the  line 
in  art.  Too  many  American  paintings,  which  have  been  clever  in  color, 
have  been  almost  ruined  by  tlie  palpable  ignorance  they  display  of  the 
elements  of  drawing.  Inability  to  compose  effectively — or,  in  otlier  words, 
to  perceive  the  harmony  which  is. the  dominant  idea  of  true  art — has  also 
been  too  frequent  a characteristic  of  this  school.  AVhile  in  the  application 


LANDSCAPE  COMPOSITION. [iL  W.  HUBBARD.] 

of  colors  a lack  of  nerve  lias  been  exhibited  which  gives  to  many  of  these 
works  an  appearance  of  thinness,  that  becomes  painfully  apparent  ’s^hen 
they  have  been  painted  a few  years.  These  observations  apply  no  less  to 
the  figure-painting  than  the  landscape  art  of  this  period  of  American  ait, 
and  a general  absence  of  warmth  and  earnestness  is  the  impression  which 
a survey  of  the  field  leaves  upon  the  mind  of  tne  candid  observei. 

There  is  nothing  in  this  to  surprise  or  to  discourage,  if  we  frankly  con- 
sider the  surrounding  circumstances.  Great  art  is  the  child  of  repose; 


ART  IN  AMERICA. 


AMERICAN  PAINTERS. 


71 


the  restlessness,  the  feverish  activity  of  the  country,  eminently  encouraging 
to  some  pursuits,  is,  if  not  fatal  to  the  arts,  at  least  opposed  to  their  highest 
development;  tlie  vast  multiplicity  of  aims  agitating  the  people  has  thus 
far  prevented  that  concentration  of  effort  which  meets  with  a response  in 
the  enthusiasm  of  artistic  genius.  Instead  of  being  discouraged,  therefove, 
by  the  cpiality  of  the  art  we  have  already  produced,  we  accept  it  as  sti'ong 
evidence  that  the  American  people  have  a decided  natural  turn  for  the 
arts,  whicli  only  awaits  a more  favorable  condition  of  the  nation  to  reach 
a higher  plane  of  excellence. 

Aor  does  the  general  absence  of  imaginative  power  in  our  art  seem  to 
us  proof  that  we  are  by  nature  destined  to  remain  a prosaic  people.  Aside 
from  the  fact  that  already  years  ago  we  had  such  imaginative  artists  as 
Hamilton,  Lafai’ge,  Yedder,  and  others,  we  consider  that  the  wonderful 
inventive  quality  of  the  American  mind  toward  scientific  and  mechanical 
discovery  argues  a highly  creative  imagination.  Herbert  Spencer  it  is 
who  proves  somewhere  tliat  imagination  must  enter  into  the  working  out 
of  the  problems  of  inventive  science.  Hitherto  the  nation’s,  needs  have 
stimulated  the  imao-ination  in  that  direction;  but  under  new  conditions 
there  is  little  reason  to  doubt  that  the  same  faculty  will  become  subservi- 
ent to  the  creation  of  an  original  and  powerful  school  of  art  in  America. 

But  while  admitting  the  weak  points  of  our  landscape  art,  and  that  the 
highest  flights  of  which  landscape  - painting  is  capable  have  not  always 
been  reached  by  onr  artists,  we  should  be  careful,  on  the  other  hand,  lest 
we  fail  to  award  them  the  merit  which  is  justly  their  due  for  persevering 
endeavor,  and  fi-equently  for  great  natural  ability.  Let  us,  in  justice,  un- 
grudgingly allow  the  discriminating  pi*aise  that  some  out  of  a large  num- 
ber are  undoubtedly  entitled  to  claim.  If  we  mention  them  individ- 
ually rather  than  by  the  classification  of  schools,  it  is  simply  because,  for 
the  reasons  alread}"  stated,  scarce  ain^'  of  onr  artists  have  founded  schools; 
although  we  may,  perhaps,  without  iuconsistency,  speak  of  the  efforts  of 
artists  of  altogether  different  styles,  but  treating  the  same  class  of  sub- 
jects, as  a school.  It  is  in  this  sense  that  we  allude  to  our  school  (>f 
landsca})e. 

AVith  certain  important  excc[)tions,  to  be  noted  in  another  chapter,  the 
American  art  of  this  period  has,  on  the  whole,  been  concerned  chietly  with 
the  objective;  and  it  could  not  have  well  been  otherwise,  for  any  other 
form  of  art  at  such  a time  would  have  utterly  failed  to  carry  the  people 


ART  IN  AMERICA. 


witli  it,  and  thus  missed  of  producing  tliat  gi'adual  cestlietic  education 
which  is  the  province  of  a national  art. 

Not  only  for  this  reason  has  our  school  of  landscape  art  vindicated  its 
right  to  be,  and  established  its  claim  on  our  respectful  attention,  but  also 
because  it  has  owed  little  to  foreign  inhuen(;es — springing  rather  from 
environing  circumstances,  as  naturally  as  the  flowers  of  May  follow  the 
departure  of  winter. 

And  thus,  as  after  a long  winter  a few  warm  spring  days  cover  the 
orchard  witli  an  afliuence  of  blossoms,  so  at  this  time  from  many  quarters 
of  the  land  artists  appeared,  especially  in  the  field  of  landscape  art ; and 


“THE  VASTY  DEEP.” — [wiLLIAM  T.  RICHARDS.] 


one  can  hardly  believe  that  where,  but  a few  years  before,  the  Indian  and 
the  buffalo  and  the  wolf  had  roamed  at  their  own  wild  will,  artists  now 
arose,  armed  with  an  ability  to  discern  the  beauties  of  their  native  land,  to 
dii'ect  the  prosaic  thoughts  of  the  pioneer  to  the  loveliness  of  the  nature 
w’hich  sun’ounded  him,  and  to  make  for  themselves  an  enduring  name. 
Ohio,  the  Massachusetts  of  the  West,  for  example,  which  became  a State 
as  late  as  ISOO,  was  in  the  early  part  of  this  period  especially  prolific  in 
artists,  who,  if  they  did  not  find  instruction  or  a public  on  the  spot,  were 
at  least  enabled,  with  the  increasing  means  of  communication,  to  go  to 
New  York  and  Boston,  or  to  wander  over  to  the  studios  and  art  wealth  of 


AMERICAN  PAINTERS. 


Europe.  In  other  lands  and  ages  the  poetic  sentiment  has  first  found  a 
vent  in  lyrics  and  idjls ; but  with  us  the  best  poetry  has  been  in  the  land- 
scape-painting which  was  created  by  the  sons  of  those  whose  ploughs  first 
broke  tlie  soil  of  this  continent  with  a Cliristian  civilization.  At  this 
period,  also,  we  note  the  advent  of  an  influence  which  doubtless  aided 
to  promote  a more  rapid  pursuit  of  the  new  art  impulse  of  the  nation. 
Steam,  the  mighty  magician  which  drives  the  locomotive  and  the  steam- 
ship, is  in  bad  repute  with  the  conservatives  who  are  not  in  sympathy  with 
the  progressive  movements  of  the  age;  and  yet  among  all  the  other  results 
of  wdiich  it  has  been  the  wonderful  agent,  we  must  ascribe  its  patronage 
of  art.  It  is  undoubtedly  to  the  far  greater  facilities  for  going  from  place 
to  place,  which  followed  the  introduction  of  steam,  that  we  must  partly 
attribute  the  rapid  success  of  many  of  the  artists  who  a[)peared  in  our 
country  at  that  time  in  such  unexpected  numbers. 

It  was  in  1811  that  Leutze  went  to  Dlisseldorf  to  study,  and  thus  in- 
troduced a new  influence  into  our  art,  which  hitherto,  so  far  as  it  had 
acknowledged  foreign  influences,  had  been  swayed  by  the  schools  of  Italy 
and  Britain.  The  effect  was  evident  when,  a few  years  later,  Worthington 
Whittreclge,  a native  of  Oliio,  went  to  Diisseklorf,  and  studied  under  tlie 
guidance  of  Achenbach.  Yery  naturally  his  style  showed  for  a time  the 
effect  of  foreign  methods;  but  he  was  guided  by  a native  independence 
of  action  that  enabled  him  in  the  end  to  assimilate  rather  than  to  imi- 
tate, like  most  of  our  artists  at  this  time,  and  his  later  landsca|)es  ai‘e 
thoroughly  individual  and  American,  although  doubtless  improved  by  for- 
eign discipline.  As  a faithful  delineator  of  the  various  phases  of  Amer- 
ican wood  interiors,  Mr.  Whittredge  has  deservedly  won  a permanent 

I 

place  in  the  popular  favor.  Some  of  his  landscapes,  representing  the 
scenery  of  the  great  West,  have  also  been  large  in  treatment  and  ef- 
fective in  coni[)Osition  ; but  his  skies  sometimes  lack  atmosphere  and 
ideality. 

Juke  his  master,  Durand,  d.  W.  Casilear  began  his  career  as  an  en- 
graver; and  the  success  he  achieved  in  this  department  is  attested  by  his 
very  clever  engraving  of  Huntington’s  “Sibyl.”  Since  he  drifted  into 
landscai)e- painting,  (,’asilear  has  produced  many  delicately  finished  and 
[)oetic  scenes,  distinguished  by  elegance  and  relinement  rather  than  dash 
or  originality ; and  somewhat  the  same  observations  would  a|>j)ly  to  the 
tender  landscapes  of  James  A.  Suydam.  In  such  dreamy,  pleasant,  but 


74: 


AET  IX  AMERICA. 


not  very  vigorous  paintings  as  tliat  of  liis  ‘‘Yallev  of  tlie  Peinigewasset,” 
Samuel  L.  Gcjtj  lias  also  attracted  favorable  attention. 


HIGH  TORN,  ROCKLAND  LAKE.” [ JASPER  F.  CROPSEY.] 


The  work  of  a genuine  poet  is  appai*ent  in  the  canvases  of  R.  W. 
Ilnbbard.  Repose  and  pensive  harmoniousness  of  treatment  characterize 
his  simple  and  winsome,  if  not  stirring,  transcripts  of  the  more  familiar 
phases  of  our  scenery.  Tliey  are  idyls  in  color.  What  Hubbard  has  done 
for  ReAV  England  landscape,  J.  R.  Meeker,  of  St.  Louis,  has  attempted  for 
the  ‘Gakes  of  the  Atchafalaya,  fi'agrant  and  thickl}^  embowered  with  blos- 
soming hedges  of  roses.”  and  the  live-oaks  spi’eading  their  vast  arms,  like 
groined  arches  of  Gothic  cathedrals,  festooned  with  the  mystically  trailing 
folds  of  the  Spanish  moss,  along  the  lagoons  of  the  South-west,  where  the 
sequestered  shoi’es  are  haunted  by  the  pelican  and  the  gayly  colored  crane, 
and  the  groves  are  melodious  with  the  rapturous  lyrics  of  the  mocking- 
bird, the  impi'ovisatore  of  the  woods.  If  not  always  successful  in  the  tone 
of  his  pictures,  it  may  be  conceded  that  Mr.  Meeker  lias  approached  his 
subject  with  a reverent  and  poetic  spirit,  and  has  often  rendered  these 
scenes  with  much  feeling  and  truth. 

Still  another  aspect  of  onr  scenery  lias  been  reproduced  with  fidelity 
by  W.  T.  Richards,  of  Philadelphia.  AYe  refer  to  the  long  reaches  of 


AMERICAN  PAINTERS.  75 

silvery  shore  and  the  sand-dinies  which  are  chai'acteristic  of  many  parts 
of  our  Atlantic  coast.  He  has  often  painted  woodland  scenes  with  great 
patience,  but,  as  it  seems  to  us,  with  too  much  detail,  and  with  greens 
which  are  open  to  a charge  of  being  crude  and  violent.  But  in  his  beach 
effects  Mr.  Bichards  maintains  an  important  position;  and  if  slightly  man- 
nered, has  yet  developed  a style  of  subject  and  treatment  which  \evy 
effectively  represents  certain  distinguishing  features  of  our  solemn  coasts. 
Some  of  his  water- color  paintings  have  scarcely  been  surpassed,  as,  for 
example,  the  noble  representations  of  the  bleak,  snow-like,  cedar- tufted 
dunes  along  the  Jersey  shore. 

The  extraordinary  variety  of  the  effects  of  American  landscape  is 
again  shown  by  the  gorgeousness  of  our  autumnal  foliage.  It  has  been 
objected  by  some  that  it  is. too  vivid  for  art  purposes.  We  consider  this 
a matter  of  individual  taste.  There  is  nothing  more  absurd  in  trying 
to  render  the  effects  of  sunset,  or  the  scarlet  and  gold  of  an  American 


“tiik  I’aks()NA(;k.” — [a.  k.  isku.ow s. 


forest  in  tlie  di’camy  days  of  tlie  Indian  summer,  than  in  undertaking 
to  paint  tlie  splendor  of  many-colored  drapery  in  an  Oilcmtal  crowd, 
which  i.s  considei’ed  a legitimate  subject  for  the  artist  who  has  a cor- 


76 


ART  IN  AMERICA. 


rect  eve  for  color.  It  is  not  in  the  subject,  but  in  the  artist,  that  tlie 
difficulty  lies.  Some  of  onr  painters  have  seized  these  antnmnal  displays 
with  tine  feeling  and  excellent  judgment.  Ivensett  is  an  example;  an- 
other is  J.  F.  Cropsey,  who,  beginning  life  as  an  architect,  became  event- 
ually an  agreeable  delineator  of  our  autumnal  scenery,  and  at  one  time 
executed  a number  of  paintings  remarkable  for  their  truth  and  artistic 
beauty.  His  later  work  has  scarcely  sustained  the  early  reputation  he 
justly  acquired.  At  its  best,  his  style  was  crisp,  strong  in  color,  and  some- 
times very  bold  in  composition.  Mr.  C.  P.  Cranch,  who  was  associated 
with  Cropsey  in  Italy,  and  who  is  well  known  as  a wiiter,  has  exhibited 
in  his  Venetian  landscapes  a correct  perception  of  color,  while  his  method 
lacks  firmness  of  drawing,  and  shows  tiiices  of  foreign  influence  more  than 
that  of  many  of  our  artists  who  studied  abroad  at  this  time.  P.  II.  Fuller, 
who  was  a night-  watchman  on  the  police  force  of  Chelsea,  Massachusetts, 
and  died  in  1871,  was  an  artist  whose  educational  opportunities  were  ex- 
cessively meagre.  But  he  had  a fine  eye  for  color  and  atmospheric  ef- 
fect, and  some  of  his  landscapes  are  painted  with  a full  brush,  and  are 
tender  and  beautiful.  F.  D.  IVilliams,  before  he  left  Boston  for  Paris, 
also  developed  a strong  scheme  of  handling  and  color  which  was  at  once 
pleasing  and  original.  F.  II.  Shapleigh  has  likewise  shown  an  excellent 
feeling  for  some  of  nature’s  more  quiet  effects,  and  his  coast  scenes  are 
attractive,  although  lacking  somewhat  in  force. 

As  one  considers  this  field  of  American  art,  he  is  increasingly  aston- 
ished to  find  how  strikingly  it  exemplifies  one  of  the  leading  traits  of  a 
national  school  in  the  entire  originality  and  individuality  with  which  each 
of  our  prominent  landscapists  of  this  period  interprets  nature,  even  when 
he  has  studied  more  or  less  in  Europe.  Whatever  may  be  the  general 
defect  of  refinement  mther  than  strength,  and  other  Aveaknesses  charac- 
teristic of  our  school  of  landscape  art,  it  must  be  admitted  that  its  repre- 
sentative artists  have  been  often  sturdily  independent,  and  that  their  mer- 
its as  well  as  their  defects  are  entirely  their  own.  What  difference  there 
is  between  the  carefully  finished  but  rich,  massive  foliage  of  David  Juhu- 
son,  suggesting  the  strength  of  the  old  English  masters  of  landscape,  and 
the  dreamy,  mellow  pastoral  meadow  lands,  wooded  slopes,  and  dimpling 
lakes  of  our  Green  Mountains,  veiled  by  a luminous  haze  and  steeped  in 
repose,  Avhich  are  so  delicately  portrayed  by  the  brush  of  J.  B.  Bristol! 
Few  of  the  landscape-painters  of  this  school  have  produced  more  agreea- 


LANUSCAPE  WITH  CATTLE. — [.TAMES  IIAUT.] 


AMERICAN  PAINTERS. 


79 


ble  results  with  tlieir  brush.  What  points  of  divergence  there  are,  again, 
between  the  landscapes  of  W.  L.  Sonntag  and  A.  F.  Bellows!  — the  one 
adopting  a scheme  of  tone  and  color  apparently  out  of  the  focus  of 
nature,  yet  so  using  it  in  rendering  ideal  compositions  as  to  achieve  re- 
sults which  place  him  by  the  side  of  onr  leading  poets  of  nature.  To 
him  landscape-painting  seems  to  be  not  so  much  a means  to  give  faith- 
ful transcripts  of  actual  scenes  as  to  repi’esent  the  ideals  of  his  fancy; 
and  as  such  w’e  accept  them  wuth  thankfulness,  for  they  not  only  serve 
to  give  us  pleasure,  but  also  to  illustrate  the  many-sided  phases  of  art. 
Bellows,  on  the  other  hand,  both  in  oil  and  aquai^elle^  has  attempted  mi- 
nute reproductions  of  nature;  and,  while  sometimes  suggesting  the  impres- 
sion of  labor  rather  more  than  is  consistent  with  breadth  of  effect,  has 
faithfully  and  charmingly  interpreted  the  idyllic  side  of  our  rural  life.  If 
he  had  not  been  a poet  in  color,  we  might  have  expected  of  him  pastoral 
lyrics  imbued  with  the  spirit  of  Cowper  or  Thompson.  Early  study  at  the 
school  of  Antwerp,  and  the  pursuit  of  genre  for  some  years,  have  enabled 
Mr.  Bellows  skilfully  to  diversify  his  attractive  village  pictin-es  and  repre- 
sentations of  our  nohle  Aew  England  elms  with  groups  of  figures.  lie  is 
justly  entitled  to  be  called  the  American  Bii-ket  Foster. 

It  is  instructive,  in  this  connection,  to  observe  the  first  landscapes  of 
George  Inness,  which  pro[>erly  belong  in  style  to  the  early  and  distinctive- 
ly American  school  of  landscape,  while  his  recent  method  has  identified 
him  with  the  later  graduates  of  the  ateliers  of  Baris.  Samuel  Colman  is 
another  landscape-painter  whose  art  is  identified  both  with  this  school  and 
with  that  of  the  period  on  wliidi  w^e  are  now  entering.  Educated  here, 
and  influenced  liy  a fine  eye  for  color,  foreign  travel  has  broadened  his 
s^unpathies,  modified  his  technique,  and  led  him  to  look  with  favor  upon 
later  methods. 

The  landscapes  of  William  and  James  Hart  represent  still  another 
phase  of  our  art.  Both  began  life  as  apprentices  to  a coach-paintei’,  but 
gradually  identified  themselves  with  the  gi'eat  throng  of  all  ages  ^vho  have 
Ijecome  the  votaries  of  nature.  There  is  cleverness  and  dexterity  in  their 
w’ork,  a fine  i)er(^e[)tion  of  the  external  beauty  of  the  slopes  and  vales  and 
woods  of  oui*  laud,  and  brilliant  color;  but  it  is  sometimes  marred  by 
bardness  of  baudliiig,  and  ladv  of  juiciness  or  warmth  of  feeling;  in 
otbei*  words,  it  is  too  exclusi\ely  objective,  as  if  only  the  physical  and 
not  also  the  mental  eye  laid  been  concerned  in  the  })ainting  of  their 


so 


ART  IN  AMERICA. 


works.  James  Hart  has  of  late  years  added  cattle  to  his  landscapes 
with  excellent  success,  and  holds  a prominent  position  among  the  very 
few  respectable  painters  of  animal  life  whom  the  American  art  of  this 
period  can  justly  claim. 

Mr.  Horace  Robbins,  successful  in  seizing  certain  aspects  of  mountain 
scenery,  with  a fine  feeling  for  atmospheric  grays,  and  Mr.  Arthur  Parton, 
who  very  pleasingly  renders  trees,  and  some  of  the  sober  effects  of  our 
dim  November  days,  although  among  our  yonnger  painters,  justly  belong 
to  this  period,  as  do  also  Messrs.  James  and  George  Smillie,  who  have  been 
erjuall}-  happy  in  water  and  oil  coloi’S.  The  former  is  another  of  our 


‘'SUXSET  ON  THE  HUDSON.” [SANDB’ORD  R.  GIFB’ORD.] 

many  landscape-paintei's  who  began  as  engravers  on  steel.  The  later  style 
of  these  talented  brothers  has  been  evidently  modified  with  advantage  by 
the  influence  of  foreign  technique,  although  they  have  studied  wholly  in 
this  country;  and  they  now  display  an  attractive  vigor  and  freshness  in 
their  landscape  pieces,  and  a somewhat  original  choice  of  subjects. 

The  style  of  each  of  the  artists  we  have  mentioned  can  be  distinguish- 
ed at  once.  Individuality  of  expression  is  stamped  upon  tlie  canvas  of 
all;  blit  among  them  there  is  no  one  more  thoroughly  original  than  San- 
ford R.  Gifford,  who,  if  he  had  lived  in  Persia  or  Peru  two  thousand  years 
ago,  might  well  have  been  an  enthusiastic  fire-worshipper,  or  daily  wel- 
comed the  risimr  sun  witli  reverent  adoration.  To  him  landscape-painting, 


AMERICAN  PAINTERS. 


SI 


whetlier  of  scenes  in  our  own  Far  West,  or  on  the  legendary  Hudson,  or  in 
the  gorgeous  East,  has  been  alike  the  occasion  for  giving  expression  to  his 
feeling  for  glowing  atmospheric  effects,  for  lyrics  which  on  canvas  repro- 
duce the  splendor  of  the  sunset  &\\V.  l>ut  it  would  be  a mistake  to  su}v 
pose  that  Mr.  Gifford’s  poetic  sense  has  been  conlined  to  the  contempla- 
tion of  serene  and  glowing  atmospheres : he  has  also  successfully  rendered 
the  lazy  mist,  the  trailing  vapor  of  morning  enmeshed  in  dusky  woodlands 
by  the  silent  lake.  His  style  combines  to  a remarkable  degree  delibera- 
tion and  inspiration — a happy  union  of  the  analytical  and  emotional  ele- 
ments in  art. 

The  objective  school  of  American  landscape-painting  has  found  its  cnl- 
minating  excellence,  as  it  seems  to  ns,  in  the  art  of  Frederick  E.  Churcli. 
In  his  art-life  the  tendencies  and  aims  of  the  chief  national  school  we 
have  produced  during  the  last  half  century  have  been  typically  repre- 
sented. In  his  works  the  technical  weakness  of  this  school  is  apparent, 
and,  at  the  same  time,  its  noble  sympathy  with  nature,  and  its  love  for  tlie 
grander  aspects  of  the  external  world.  It  also  represents  the  restless,  nn- 
satisfied  genius  of  our  people  during  this  period,  ever  reaching  ont  and 
beyond,  and  yearning,  Yenice-like,  to  draw  to  itself  tlie  spoils,  the  riches, 
the  splendors,  of  the  whole  round  globe.  To  our  art  the  paintings  of  Mr. 
Church  are  what  the  geographic  cantos  of  “Childe  Harold”  have  been  to 
the  poesy  of  England,  or  the  burning  descalptions  of  St.  Pierre  and  Cha- 
teanbriand  to  the  literature  of  Fi’ance.  If  such  a topic  is  permissible  in 
letters,  may  it  not  also  be  allowed  sometimes  in  painting Whether  the 
one  is  as  lofty  as  epic  poetiy,  or  the  other  as  great  as  historical  painting 
or  subjective  landscape,  is  a question  which  we  do  not  need  here  to  an- 
alyze. It  is  sufficient  that  each  holds  an  important  position  ; and  to  cany 
off  the  palm  in  either  can  only  be  tlie  result  of  consummate  genius.  Yes  I 
what  ‘^Childe  Harold”  did  for  the  scenery  of  the  Old  AVorld,  the  art  of 
Church  has  done  for  that  of  the  New.  The  vastness  and  the  glory  of  tliis 
continent  were  yet  nnrevealed  to  ns.  AVith  the  enthusiasm  of  a Paleigli 
or  a Palhoa  he  has  ex[)lored  land  and  sea,  combining  the  diarncteristics  of 
the  ex[)lorer  and  the  artist.  iV  piq)il  of  Cole,  he  has  carried  to  its  full 
fiuiition  the  as[)irations  of  his  master,  first  gaining  inspiration  along  the 
magical  shores  of  the  Hudson,  and  amidst  the  ideally  beautiful  rang(\s  of 
the  legendary  Catskills.  Our  civilization  needed  exactly  this  loiun  of  art 
expression  at  this  period,  and  the  artist  ap[)cared  who  should  teach  the 

0 


82 


ART  IN  AMERICA. 


people  to  love  beauty,  and  to  tind  it  among  the  regions  which  first  rang 
with  the  axe  of  onr  pioneei’S. 

But,  although  dealing  not  so  much  with  nature,  as  such,  as  with  some 
of  her  little  known  and  more  remarkable  and  startling  effects,  tliere  is  a 
very  notewortln^  absence  of  sensationalism  or  staginess  in  the  paintings  of 
Churcli  ; while,  on  the  other  hand,  the  somewhat  too  careful  reproduction 
of  details  has  not  ])revented  them  from  possessing  a grand  massing  of 
effect  and  a thrilling  beauty  and  sublimity.  “Cotopaxi,”  the  “Heart  of 
the  Andes,”  or  “Niagara,”  may  transgress  many  rules  laid  down  by  the 
schools,  but  the  magnificent  ability  with  which  they  are  represented  dis- 


A COMrOSlTlO.X. [fKEDKKICK  PL  CHURCH.] 

arms  criticism.  Church’s  first  painting  of  Niagara  occupies  the  culminat- 
ing point  in  the  objective  art  of  this  period  of  our  history,  executed  by  an 
artist  who  up  to  that  time  had  never  crossed  the  Atlantic,  and  whose  mer- 
its and  defects  were  entirely  his  own. 

Mr.  Church’s  “Niagara”  is  doubtless  familiar  to  many  through  the 
fine  chromo-lithogrnphic  copy  made  from  it;  but  those  who  have  not  seen 
the  original  have  only  an  incomplete  idea  of  the  grandeur  of  this  gi'eat 
painting.  It  grows  on  acquaintance  somewhat  as  does  the  catai’act  itself, 


a:\iericax  painters. 


83 


until  we  seem  to  hear  even  the  roar  of  the  iniglitv  waters  that  rushed  over 
those  tremendous  cliffs  ages  before  this  continent  was  trodden  by  man, 
symbolizing  the  endless,  remorseless,  and  irresistible  sweep  of  time.  The 
green  flood  pouring  evermore  into  tlie  appalling  alw^ss  veiled  by  mist 
wreathing  up  from  the  surging  vortex  below;  the  distant  shoi-e  lined  with 
foliage,  touched  by  the  burning  tints  of  October;  the  rosy  gray  sky  over- 
arching the  scene,  and  the  etliereal  bow  uniting  heaven  and  earth  with  its 
elusive  band  of  colors — all  are  there,  rendered  with  matchless  art. 

The  subjects  of  Mr.  Church’s  more  recent  works  have  been  taken  from 
the  storied  shores  of  the  Meditei'ranean.  AYe  perceive  in  them  no  sign  of 
failing  power,  but  more  breadth  and  less  opulence  of  detail.  The  artist 
has  treated  the  splendors  of  classic  lands  with  the  dignitied  reserve  of 
matured  strength  and  a higher  sense  of  the  ideal.  The  melancholy  gran- 
deur of  the  Parthenon  in  ruins  has  been  painted  with  a statel}"  reticence  in 
consonance  with  the  character  of  the  subject;  and  the  magnificent  compo- 
sition called  the  ‘CEgean”  may  well  hold  its  own  by  the  side  of  some  of 
the  superb  Italian  canvases  of  Turner. 

A landscape-painter  wdio  chose  a range  of  subjects  similar  to  those  of 
Church,  and  accompanied  him  in  one  of  his  South  American  trips,  was 
Louis  P.  Mignot,  of  South  Carolina,  who  died  in  London  some  eight  years 
ago.  lie  was  inspii'ed  by  a rapturous  eiUhusiasm  alike  for  the  tender  and 
the  brilliant  aspects  of  nature,  and  appears  to  us  to  have  been  one  of  the 
most  remarkable  artists  of  our  country.  He  can  be  justly  ranked  with 
the  pioneers  who  ffi’st  awoke  the  attention  of  the  nation  to  a consciousness 
of  the  beauty,  glory,  and  inexhaustible  variety  of  the  scenery  of  this  con- 
tinent, wliich  had  fallen  to  them  as  a heritage  such  as  no  other  people 
have  yet  accpiired.  Mignot  was  at  once  a fine  colorist  and  one  of  the 
most  skilled  of  our  painters  in  the  handling  of  materials;  his  was  also  a 
mind  fired  by  a wide  range  of  sympathies;  and  whether  it  was  the  superb 
splendor  of  the  tropical  sceneiw  of  the  Pio  Pamba,  in  South  Ameilca,  the 
sublime  maddening  rush  of  iris-cinded  water  at  Xiagara,  or  the  faiiw-like 
grace,  the  exapiisite  and  ethereal  loveliness  of  new-fallen  snow,  he  was 
equally  haj)])y  in  rendering  the  ^■aried  aspecfs  of  nature.  It  is  greatly  to 
be  ]‘Cgrett(Ml  that  the  most  im])ortant  works  of  this  artist  are  owned  in 
England,  whithei*  he  i-esorted  at  the  opening  of  the  civil  wai‘.  “Snow  in 
Hyde  Ikiik,”  whi(di  he  ])ainted  not  long  before  his  death,  is  one  of  the 
noblest  productions  of  Ameri(;an  landscape-painting. 


84 


ART  IN  AMERICA. 


“a  winter  scene.” — [eouis  r.  mignot.] 

Tlie  American  marine  art  of  this  period  has  been  represented  by  a 
mnnber  of  artists,  although  they  have  been  by  no  means  so  numerous  or 
capable  as  the  maritime  character  of  our  people  would  have  led  us  to 
expect.  William  Bradford,  by  origin  a Quaker,  has  made  to  himself  a 
name  for  his  enterprise  in  going  repeatedly  to  Labrador  to  study  icebergs, 
and  has  executed  some  effective  compositions,  which  have  won  him  fame 
at  home  and  abroad.  Some  of  his  coast  scenes  are  also  spirited,  although 
open  to  tlie  charge  of  technical  errors.  Cliarles  Temple  Dix,  who  im fort- 
unately died  young,  painted  some  dashing,  imaginative,  and  promising 
compositions;  and  Harry  Brown,  of  Portland,  has  successfully  rendered 
certain  coast  effects.  But  our  ablest  marine-painter  of  this  period  seems 
to  have  been  James  Hamilton,  of  Plnladelphia,  who  was  beyond  question 
an  artist  of  genius.  Ilis  color  was  sometimes  harsh  and  crude;  but  he 
handled  pigments  with  mastery,  and  composed  with  the  virile  imagina- 
tion of  an  improvisatore.  Errors  can  doubtless  be  found  in  his  ships,  or 
the  forms  of  his  waves;  but  he  was  inspired  by  a genuine  enthusiasm 
for  tlie  sea,  and  rendered  the  wildest  and  grandest  effects  of  old  ocean 
with  breadth,  massiveness,  and  power.  We  have  had  no  marine -paint- 


AMERICAN  PAINTERS. 


S5 


er  about  whose  works  there  is  more  of  the  raciiiess  and  flavor  of  blue 
water. 

AVhen  we  turn  to  the  department  of  animal-paiutiiig,  we  discover  wliat 
has  been  hitlierto  the  weakest  feature  of  American  art,  both  in  the  num- 
ber and  quality  of  the  artists  who  have  pursued  this  branch  of  the  profes- 
sion. T.  II.  Hinckley  at  one  time  promised  well  in  painting  cattle  and 
game,  but  his  efforts  rarely  went  beyond  giving  us  Denner-like  re])resenta- 
tions  of  stuffed  foxes  with  glass  eyes.  Tlie  hairs  were  all  there,  the  color 
was  well  enough,  although  perliaps  a little  foxy — if  one  may  be  permitted 
the  term  in  this  connection  ; but  there  was  no  life,  no  characterization, 
there.  William  Ilajms  showed  decided  alnlity  in  his  representations  of 
bisons  and  prairie-dogs  and  otlier  dogs.  Weak  in  color,  he  yet  succeeded 
in  giving  spirit  and  cliaracter  to  tlie  gi-oiips  he  painted,  and  holds  among 
our  animal-painters  a position  not  dissimilar  to  that  of  Mount  in  genre. 

Walter  M.  Brackett,  who  has  been  able  rarely  well  to  enjoy  the  triple 


sun*  OF  ‘ tiik  ancikxt  makinkh.’ ” — [ jamks  iiamiltox.  | 


pleasure  of  catc-hing,  painting,  and  eating  tlie  saim^  lish  on  a summer's 
jnorning  by  the  limpid  brooks  of  Xew  I lampshire,  has  justly  won  a I'l'pu- 
tation  as  an  artistic  AValton.  If  he  would  but  paint  his  rocks  and  trees  as 


86 


ART  IN  AMERICA. 


cleverly  as  he  renders  the  speckled  monarch  of  the  stream,  his  composi- 
tions would  leave  little  to  be  desired.  Henry  C.  Bispham  has  given  ns 
some  spirited  but  sometimes  badly  drawn  paintings  of  cattle  and  horses; 
and  Colonel  T.  B.  Thorpe,  an  amateur  with  artistic  tastes,  in  such  semi- 
Immorous  satires  as  “A  Border  Inquest,”  representing  wolves  sitting  on 
the  carcass  of  a buffalo,  struck  a vein  peculiarly  American  in  its  humor, 
and  carried  to  a high  degree  of  excellence  by  William  IL  Beard,  whose 
brother,  James  Beard,  can  also  be  justly  ranked  as  an  animal-painter  of 
respectable  attainments.  Mr.  Beard,  although  remarkably  versatile,  has 
made  a specialty,  if  it  may  be  so  termed,  of  exposing  the  failings  and 
foibles  of  our  sinful  humanity  by  the  medium  of  animal  genre.  Monkeys, 
bears,  goats,  owls,  and  rabbits  are  in  turn  impressed  into  the  benevolent 
service  of  taking  us  off,  and  repeating  for  us  the  old  Spartan  tale  of  the 
slave  made  drunk  by  his  master  as  a warning  to  his  son.  Of  the  skill 
which  Mr.  Beard  has  exhibited  in  this  novel  line  there  can  be  no  question. 
The  “Dance  of  Silenus,”  the  pertinacious,  iterative,  pragmatic  ape  called 
“The  Bore,”  and  “Bears  on  a Bender,”  are  masterly  bits  of  characteriza- 
tion. There  is  also  a deal  of  comic  satire  in  “The  Bulls  and  Bears  of 
Mammon’s  Fierce  Zoology,”  which,  with  a multitude  of  struggling  fight- 
ing figures,  takes  off  the  eccentricities  of  the  Stock-exchange.  Beard  caii 
justly  be  called  the  American  AEsop.  It  is  asserted  by  many  that  this  is 
not  art.  The  fact  is  that  it  is  exceedingly  difficult  to  draw  the  line,  and 
to  prescribe  what  sulqects  an  artist  shall  choose.  In  art  the  result  justifies 
the  means.  And  this  certainly  seems  as  legitimate  a subject  for  the  brush 
of  the  artist  as  the  graphic  pictorial  satires  of  Hogarth,  or  the  mildly  comi- 
cal genres  of  Erskine  NicM. 

In  a previous  chapter  we  alluded  to  some  of  the  figure,  historical, 
and  genre  painters  of  this  period.  William  Mount  was  the  precursor  of  a 
number  of  genre  ai'tists  of  more  or  less  ability,  among  whom  may  be  men- 
tioned Thomas  Hicks,  a pupil  of  Couture,  and  one  of  the  first  of  our  paint- 
ers who  studied  at  Paris.  In  this  admirable  school  Mr.  Hicks  became  an 
excellent  colorist,  although  of  late  his  art  has  appeared  to  lose  some  of  tliis 
quality.  He  has  painted  landscape  and  genre^  meeting  with  respectable 
success  in  the  latter,  but  portraiture  has  chiefly  occupied  his  attention. 
His  portrait  of  General  Meade  is  a striking  and  satisfactory  work.  Then 
there  was  Bichard  Caton  Woodville,  who  followed  Whittredge  to  Diissel- 
dorf,  and  promised  much  in  genre.  His  paintings  show  very  decided 


AMERICAN  PAINTERS. 


S7 


traces  of  German  influence,  but  behind  it  all  was  a sti’oiii;:  individiialitv 
that  seemed  destined  to  assert  itself,  and  to  place  liini  among  our  foi-e- 
most  painters.  But  he  died  young,  and  (shall  we  not  say  ?)  happily  for 
him,  since  little  fame  and  less  a[)preciation  are  destined  to  the  artists 
wlio  come  ere  the  people  are  ripe  for  their  art.  George  B.  Flaa’g  at  one 
time  promised  well  for  our  genre  art,  hut  his  abilities  were  too  precocious, 
and  unfortunately  the  splendid  oi)portunities  he  enjoyed  as  a pupil  of  All- 


‘iwuoo!” [william  II.  BEAKI).] 

ston,  and  as  a long  resident  in  London,  do  not  seem  to  have  been  sutli- 
cient  to  give  growth  or  jKu-manence  to  his  talents. 

About  this  time  onr  frontier  life  was  coming  nu>re  prominently  into 
view,  and  that  pictnresipie  border  line  between  cA  ilization  and  barbarism 
was  becoming  a subject  for  the  ])en  of  onr  leading  writers.  Irving,  ( 'oo- 
])er,  and  Kennedy,  Street,  AVhittier,  and  Longfellow,  were  tuning  the  first 
efforts  of  their  IMnse  to  celebrate  Indian  life  and  bordm-  warfare  in  prose 
and  verse,  while  the  majestic',  measure's  of  Liwant’s  “ Ih-airic's " seimu'd  a 
j>)’0])hetic  prelude  to  the  march  of  mankind  toNvard  the  lands  of  the  set 


ss 


AET  IN  AMERICA. 


ting  sun.  “Evangeline,”  the  most  splendid  result  of  our  poetic  literature, 
attracted  not  less  for  its  magniticent  generalizations  of  the  scenery  of 
the  West  tlian  for  the  constancy  of  the  heroine,  and  the  artistic  mind 
responded  in  turn  to  the  unknown  mystery  and  romance  of  that  vast 
region,  and  gave  us  graphic  pictures  of  the  rude  humanity  which  lent 
interest  and  sentiment  to  its  unexplored  solitudes.  It  is  greatly  to  be 
regretted  that  the  \vork  of  these  pioneers  in  Western  genre  was  not  of 
more  artistic  value;  from  a historical  point  of  view,  too  much  importance 
cannot  be  attached  to  the  entei*[)rise  and  courage  of  men  like  Gatlin, 
Deas,  and  llanney,  who,  imbued  wdth  the  spirit  of  adventure,  identified 
themselves  with  Indian  and  border  life,  and  rescued  it  from  oblivion 
by  their  art  enthusiasm,  which,  had  it  been  guided  by  previous  train- 
ing, would  Iiave  been  of  even  greater  value.  As  it  is,  they  have  with  the 
pencil  done  a service  for  the  subjects  they  portrayed  similar  to  wliat 
Bret  Ilarte  has  accomplished  in  giving  immortality  wdth  the  pen  to 
the  wdld,  picturesque,  but  evanescent  mining  scenes  of  the  Pacific  slope. 
In  this  connection  the  fact  is  wmrth  recoi-ding  that  tlie  important  mutual 
life-insurance  association  called  the  Artists’  Funding  Society  took  its 
<nlgin  in  a successful  effort  to  contribute  to  the  su[)port  of  the  family  of 
Panney  after  his  death. 

Our  historical  painters  of  this  period  rai’ely  created  any  wmrks  deserv- 
ing of  note  or  remembrance.  Here  and  there  a painting  like  that  of 
Huntington’s  “Pepublican  Court”  was  })rodnced,  Avhich  is  a graceful  and 
elegant  composition,  and  one  of  the  best  of  the  kind  in  American  art. 
Peter  F.  Pothermel,  the  able  portrait  - painter  of  Philadelphia,  also  com- 
posed a number  of  historical  wmrks,  of  wdiich  the  last  is  probably  of  most 
value.  His  “Battle  of  Gettysburg”  is  a bold  and  not  ineffective  repre- 
sentation of  one  of  the  critical  moments  in  the  wmrld’s  history,  althougli 
open  in  parts  to  severe  criticism.  J.  G.  Chapman,  wmll  known  at  one  time 
as  a skilful  w^ood-engraver  and  genre  painter,  also  aspired  to  the  difficult 
field  of  historical  painting;  but  it  is  to  an  artist  of  German  extraction, 
Emmanuel  Leiitze,  that  we  ow^e  our  best  historical  art  previous  to  I860,  ex- 
cepting perhaps  some  of  the  compositions  of  Copley  and  West  and  two  or 
three  of  the  battle-pieces  of  Trumbull.  Although  born  abroad,  Lentze  may 
be  justly  claimed  as  an  American  painter,  for  he  w^as  taken  to  Philadelphia 
in  childhood,  and  remained  in  this  country  until  thoroughly  imbued  wdth 
a patriotic  love  for  the  land  and  its  history  and  the  spirit  of  its  iiistitu- 


AMERICAN  PAINTERS. 


S9 


tions ; and  altliongli  he  subsequently  passed  a number  of  years  at  Dussel- 
dorf,  wbitber  be  went  at  twenty-seven,  the  last  ten  years  of  bis  life  were 
here;  here  be  died,  and  the  subjects  of  bis  art  were  almost  entirely  in- 
spired by  American  scenes,  and  have  become  incorporated  with  the  growth 
of  our  civilization. 

Leutze  was  a man  who  was  cast  in  a large  mould,  capable  of  a grand 
enthusiasm,  and  aspiring  to  grasp  soaring  ideals.  Altbougb  bis  art  was 
often  at  fault,  it  makes  us  feel,  notwitbstauding,  that  in  contemplating  bis 
works  we  are  in  the  presence  of  a colossal  mind  which,  under  healthier 
influences,  would  have  better  achieved  what  be  aspired  to  win.  He  drew 


'“LAFAYETTK  IN  PRISON,” [e.  LEUTZE. J 


from  wells  of  seemingly  inexhaustible  inspiration.  He  was  Byronic  in 
the  impetus  of  bis  genius,  the  rugged  incompleteness  of  bis  style,  the  niag- 
niflc.ent  fervor  and  rush  of  bis  fancy,  the  epic  grandeur  and  energy,  dash 
and  daring,  of  bis  creations.  It  is  easy  to  say  that  he  was  steeped  in  (fer- 
man  conventionalism,  that  he  pictured  the  impossible,  that  he  was  some- 
times harsh  in  his  color  and  techniipie;  and  so  he  was  at  times,  but,  with 
it  all,  he  left  the  impression  of  vast  intellectual  resources. 

We  would  not  be  understood  as  saying  that  all  the  works  of  Leutze  are 
worthy  of  umpialilied  acce[)tance;  we  refer  rather  to  their  genei’al  char- 


90 


ART  IN  AMERICA.  ' 


acter.  Ills  ai*t  was  very  prolitiv,  and  as  a ])upil  of  Lessing  and  Scliadow 
it  bore  the  unmistakable  stamp  of  Diisseldorf.  Much  of  Ids  work,  par- 
taking also  of  the  grandiose  style  of  Kaulbach,  was  of  a seiui-decorative 
character,  like  the  “Landing  of  the  Norsemen,”  which  represents  two 
fresh,  sturdy  Scaiiidinavian  rovers  stepping  out  of  an  impossible  ship,  bear- 
ing aloft  a noble  princess,  and  in  the  very  act  of  landing  snatching  the 
grapes  “hanging  wanton  to  be  plucked.”  Spirited  as  it  is,  the  manifest 
absurdity  of  the  composition  as  a I’epreseutatiou  of  reality  yet  requires  us 
to  accept  it  as  decorative  iii  design.  “Godiva”  is  a somewhat  coarse 
but  characteristic  work  of  Lentze,  and  the  “Iconoclast”  one  of  his  most 
interesting  and  artistic  woiLs.  In  America,  Lentze  will  be  remembered 
longest  by  his  large  and  magnificent  painting  of  “ Washington  at  Prince- 
ton,” his  “Emigration  to  the  West”  (a  decorative  composition  in  one  of 
the  panels  of  the  stairway  of  the  Capitol  at  Washington),  and  his  “ Wash- 
ington Crossing  the  Delaware.”  The  latter  was  executed  at  Diisseldorf, 
and  the  ice  was  ])ainted  from  an  unusnal  mass  of  shattered  ice  floating 
down  the  Pldne  on  the  breaking  up  of  the  wdnter.  It  is  another  illustra- 
tion of  the  apparent  caprice  with  which  man  is  treated  by  destiny,  that 
scarcely  had  Lentze  closed  his  eyes  in  his  last  sleep,  at  the  early  age  of 
fifty-one, when  a letter  arrived  from  Germany  bringing  official  tidings  that 
lie  had  just  been  elected  to  succeed  Lessing  as  president  of  the  Diisseldorf 
Academy  of  Art. 

AVhile  we  find  in  Lentze  the  qualities  wm  have  described,  it  cannot  be 
said  that  he  sought  out  any  new  methods  of  expression,  or  that  he  under- 
took to  suggest  the  deeper  and  moj'e  subtle  traits  of  human  iiature;  he 
was  content  to  work  after  the  manner  of  tlie  school  in  which  he  studied. 
It  is  to  another  painter  (already  referred  to),  of  great  intellectual  resource 
and  a thorougidy  American  discontent  with  the  actual,  that  we  turn  for 
aspirations  aftej*  a higher  form  of  art.  William  Page,  a native  of  Albainy 
wdio  studied  law,  and  for  a time  also  theology,  at  Andover  Seminary,  was 
from  the  hj-st  biassed  in  favor  of  art.  Ilis  mind  presents  a combination 
of  the  speculative  and  the  practical,  and  it  is  the  union  of  these  antithet- 
ical qualities  which  has  altei-nately  aided  or  hindered  the  success  of  Page’s 
efforts  and  experiments.  lie  is  deliberate  rather  than  inspirational,  guided 
by  an  exquisite  feeling  for  color  and  an  admirable  sense  of  form,  but  too 
often  unduly  controlled  by  the  logical  and  analytical  faculty.  Had  Ins 
fancy  only  been  more  childlike,  and  been  left  more  to  the  guidance  of 


I’OKTIIAIT  OF  A LADY. [WILLIAM  FA(iK.  | 


AMERICAN  PAINTERS. 


93 


its  own  natural  and  correct  instincts,  Mr.  Page’s  works  wa^nld  have  oftener 
moved  ns  bv  tlieir  beauty  rather  than  by  the  dexterity  of  the  technique. 
Still,  it  is  by  the  aid  of  a few^  such  questioning  minds  that  art  makes  its 
.advances,  and  interprets  the  secrets  of  nature.  As  a portrait-painter.  Page 
lias  placed  himself  among  the  tirst  artists  of  the  age.  We  see  in  his  por- 
traits a dignity  and  repose,  a grasp  of  character,  and  a harmonious  rich- 
ness of  color  that  are  wonderfully  impressive.  In  attempting  to  represent 
the  beauty  of  the  feminine  figure  Mr.  Page  has  been  influenced  by  great 


“the  refuge.” — [elihu  vedder.] 

delicacy  and  refinement  of  motive,  although  in  the  celebrated  painting 
of  ‘‘Venus  Rising  from  the  Sea,”  he  gave  cause  for  much  discussion  as 
to  tlie  merits  of  his  theories. 

Wlien  Page  was  in  his  prime,  our  literature  had  already  become  dis- 
tinguished by  several  winters  of  thoroughly  original  and  mystically  creative 
imagination,  native  to  the  soil,  and  drawing  sustenance  from  native  inspi- 
ration: they  were  Charles  Prockden  Prown,  Judd,  Hawthorne,  and  Poe. 
In  point  of  originality  in  conceiving  of  scenes  powerfully  weird  and  imag- 
inative, these  writers  have  had  no  superiors  in  this  century.  AVith  a style 


94 


AllT  IN  AMERICA. 


esseiitialh^  individual,  tliey  analyzed  the  workings  of  the  Iminaii  heart, 
and  dealt  with  the  great  problems  of  destiny.  Their  genius  was  cosmo- 
politan, and  for  all  ages.  Our  pictorial  art,  in  a less  degree,  began  soon 
after  to  be  prompted  by  a similar  tendency. 

Most  prominent  am'ong  these  artists  whose  faltering  effoi’ts  iiave  most 
distinctly  articulated  the  language  and  aspirations  of  the  soul  are  Elihu 
Vedder  and  John  Lafarge.  It  cannot  be  said  tliat  eitlier  of  these  artists 
has  yet  accomplished  with  complete  success  the  end  he  has  sought;  but 
their  efforts  have  been  in  the  right  direction,  and  as  such  are  highly  inter- 
esting, hopeful,  and  suggestive. 

Mr.  Yedder’s  early  genre  and  landscape  compositions  are  full  of  subtle 
attempts  at  psychology  in  color.  Outward  nature  with  him  is  but  a 
means  for  moi’e  effecti\ely  conveying  the  impressions  of  humaiiity;  and 
his  faces  are  full  of  vague,  mystic,  far-off  searching  after  the  infinite,  and 
the  why  and  the  wherefore  of  this  existence  below.  Since  Mr.  Yedder 
took  up  his  residence  permanently  in  Italy,  he  has  impi’oved  in  teclmicpie, 
and  there  is  less  dryness  in  his  method  of  using  color, , as  witnessed  by  Ids 
remarkable  painting  called  a “Yenetian  .Dancing  Girl,  or  ‘La  Regina;’” 
but  he  has  not  in  recent  years  produced  anything  so  marvellously  imagi- 
native as  his  “Lair  of  the  Sea-Serpent,”  or  so  grand  and  desolate  as  his 
“Death  of  iVbel.”  The  man  who  painted  tlie  “Lost  Mind,”  the  “Death 
of  Ahel,”  and  the  “Lair  of  the  Sea-Serpent,”  did  not  need  to  boiTow  from 
the  ancients — at  least  so  far  as  regards  forms  of  expression.  The  vast, 
solemn,  appalling  solitude  of  the  pi'imeval  world,  the  tei'rific  sublimity  of 
its  first  tragedy,  are  i-endered  in  Mr.  ATdder’s  painting  with  the  sombre 
grandeur  of  Dante;  while  as  a work  of  imaginative  art,  the  steel-colored 
monster  reposing  his  gigantic  folds  on  the  dry  grass  of  a desolate  shore 
l)y  the  endless  seas,  is  a com})Osition  of  wonderful  simplicity  and  mysteri- 
ous power,  a creation  of  pure  geidus. 

Air.  Lafarge  is  by  nature  a colorist;  to  color,  the  emotional  element  of 
art,  his  sensitive  nature  vibrates  as  to  well-attuned  harmonies  of  music. 
For  form  he  has  less  feeling;  his  drawing  is  often  very  defective,  and  the 
lines  are  hesitating,  uncertain,  and  feeble.  But  we  have  had  no  artist 
since  Stuart  who  has  shown  such  a natuiM  sympathy  for  the  shades  and 
modulations  of  chromatic  effects.  But,  while  his  drawing  is  open  to  criti- 
cism, this  artist  is  inspired  by  the  geneiM  meaning  of  form,  and  has  some- 
times produced  some  very  weii’d  and  startling  compositions  entirely  in 


AMERICAN  PAINTERS. 


95 


CARTOON  SKETCH  : CHRIST  AND  NICODEMUS. — [jOHN  LAFARGE.] 


l)lack  and  white,  or  eainaren.  But  wlietlier  it  be  fonii  or  color,  tlie  various 
elements  of  art  are  regarded  hj  Lafarge  not  so  inncli  for  what  they  are 
as  for  what  they  suggest ; he  is  less  concerned  with  the  external  than  with 
the  hidden  meaning  it  has  for  the  soul.  It  is  because  of  his  subtle  way 
of  regarding  the  beauty  of  tliis  world  that  he  has  given  us  such  thoughtful 
landsca])es  as  “Paradise  at  Newport,”  and  such  exquisitely  [lainted  tlowei’s, 
rendered  with  a tender  hai’inony  of  color  that  thrills  us  like  a lyric  of 


9G 


ART  IN  AMERICA. 


Keats  or  of  Teiinvson.  It  is  this  serious,  reflective  turn  which  has  <xiveii 
a religious  hue  to  his  art,  and  has  euabled  him  to  succeed  so  well  in  the 
most  ambitious  attempt  at  decorative-painti ug  vet  undertaken  in  this  coun- 
try— the  frescoes  of  Trinity  Church,  in  Boston;  in  which,  it  should  be 
added,  he  was  ably  assisted  by  Mr.  Latlirop.  In  tliese  compositions  we  see 
the  results  of  a highly  ideal  and  reverent  nature,  nourished  by  the  most 
abundant  art  opportunities  the  age  could  afford.  It  is  not  difficult  to 
find  in  them  points  fairly  open  to  attack;  but  the  promise  they  show  is  so 
hopeful  a sign  in  our  art,  tlie  success  actually  achieved  in  them  in  a direc- 
tion quite  new  in  this  country  is  so  marked,  that  we  p]*efer  to  leave  to 
others  any  unfavorable  criticism  they  may  suggest. 


AMERICAN  PAINTERS. 


97 


IV. 


AMERICAN  PAINTERS. 


1828-1878. 


IIE  discovery  of  the  gold  mines  of  California  was  a signal  for  enter- 


prise, daring,  and  achievement,  not  only  to  onr  commerce  and  the 
thrift  of  onr  shifting  millions  of  uneasy  settlers,  but  also  to  the  literature 
and  landscape-art  of  the  United  States.  “ To  the  kingdom  of  the  west 
wind”  liied  artist  and  author  alike;  and  the  epic  of  the  settlement  of 
California,  of  the  scaling  of  the  Rocky  Mountains,  of  the  glory  of  the 
Columbia  River,  and  the  stupendous  horrors  of  the  Yellowstone  was  pict- 
ured on  the  canvas  of  the  artist.  Taylor  and  Scott  conquered  the  Pacific 
slope;  Fremont  pointed  out  the  pathway  over  the  swelling  ranges  of  the 
Sierras;  and  onr  painters  revealed  to  us  the  matchless  splendor  of  a 
scenery  which  shall  arouse  increasing  astonishment  and  reverential  awe 
and  rapture  in  the  hearts  of  generations  yet  to  be.  In  the  gratitude  we 
owe  to  these  landscape-painters  who  dared,  discovered,  and  delineated  for 
us  the  scenery  of  which  we  were  hitherto  the  ignorant  possessors,  criticism 
is  almost  left  in  abeyance,  for  the  service  done  the  people  lias  been  a 
double  one — in  leading  them  to  the  observation  of  paintings,  and  inform- 
ing them  of  the  attractions  of  a little  known  possession.  If  the  art  of 
tliese  paintings  of  our  Western  scenery  had  been  in  all  respects  equal  to 
the  subject,  the  country  would  have  been  rich  indeed.  Among  the  artist 
explorers  to  whom  we  are  most  indebted,  Messrs.  Bierstadt,  Hill,  and  Mo- 
ran are  the  most  famous*:  The  former,  by  his  great  composition  entitled 

the  “ Rocky  Mountains,”  threw  the  people  into  an  ecstasy  of  delight,  which 
at  this  time  it  is  difficult  to  understand,  and  bounded  at  one  step  to 


Albert  Bierstadt  is  a native  of  Diisseldorf,  but  came  to  this  country  in 
infancy.  Subsequently  he  studied  at  Diisseldorf  and  Rome.  On  return- 
ing to  America,  he  accompanied  the  exploring  expedition  of  General  Lan- 


celebrity. 


7 


08 


ART  IN  AMERICA. 


der  tljat  went  over  the  plains  in  1858.  Fitz  Ilngli  Ludlow,  the  well- 
known  litUrateur,  was  associated  with  him  in  a snbsecpient  trip,  and 
several  graphic  articles  in  which  he  afterward  described  the  journej  ini- 
donbtedlj  helped  to  bring  Mr.  Bierstadt  into  notice. 

The  “Eocky  Monntains”  is  not  the  representation  of  an  actual  scene, 
but  a typical  composition,  and,  thus  regarded,  is  an  interesting  work,  al- 
though it  seems  to  ns  somewhat  too  theatrical,  and  scarcely  true  in  some 
of  the  details.  Local  truth  is  desirable  in  topographical  art,  although  of 
quite  secondary  importance  in  compositions  of  a more  ideal  character. 
Since  then  this  artist  has  executed  a number  of  similarly  ambitious  paint- 
ings of  our  Western  scenery,  including  a colossal  painting  of  the  gorge  of 
the  Yosemite  Valley.  All  of  them  are  characterized  by  boldness  of  treat- 
ment, but  sometimes  they  are  crude  in  color  and  out  of  tone.  Of  these 
we  prefer,  as  least  sensational  and  most  artistically  correct,  the  painting  of 
a storm  on  Mount  Eosalie.  Bierstadt’s  smaller  California  scenes  are  een- 
erally  more  valuable  than  his  large  ones  for  artistic  quality:  one  of  the 
best  compositions  we  have  seen  from  his  easel  is  a war  sketch  representing 
Federal  sharp-shooters  on  the  crest  of  a hill  behind  some  trees.  Tins  is 
an  excellent  piece  of  work,  fresh,  original,  and  quite  free  from  the  Diissel- 
dorf  taint;  and  contirms  us  in  the  opinion  tliat  Mr.  Bierstadt  is  naturally 
an  artist  of  great  ability  and  large  resources,  and  might  easily  have  main- 
tained a reputation  as  such  if  he  had  not  grafted  on  the  sensationalism  of 
iJiisseldorf  a greater  ambition  for  notoriety  and  money  than  for  success 
in  pure  art. 

Some  of  the  qualities  we  have  learned  to  look  for  in  vain  in  the  can- 
vases of  Bierstadt  we  find  emphasized  in  the  paintings  of  Thomas  Hill, 
who  succeeded  him  as  court  painter  to  the  monarch  of  the  Eock}^  Moun- 
tains. Hill  began  life  as  a coach  - painter  at  Taunton,  Massachusetts. 
After  deciding  on  a professional  art  career,  he  visited  Europe,  and  bene- 
fited by  observation  in  foreign  studios,  especially  of  France,  although  his 
style  is  essentially  his  own.  Ilis  method  of  using  pigments  is  sometimes 
open  to  the  accusation  of  hardness;  there  is  too  often  a lack  of  juiciness — 
a dryness  that  seems  to  remind  us  of  paint  rather  than  atmosphere,  which 
may  be  owing  to  the  fact,  as  I have  been  informed,  that  he  uses  little  or 
no  oil  in  going  over  a painting  the  second  time.  But  Mr.  Hill  is  a good 
colorist,  bold  and  massive  in  his  effects,  and  a very  careful,  conscientious 
student  of  nature.  He  has  been  happy  in  the  rendering  of  wood  interiors, 


AMERICAN  PAINTERS. 


09 


“view  on  the  kern  river.” — [a.  bierstadt.] 


as,  for  example,  bits  from  the  Forest  of  Fontainebleau.  One  of  bis  most 
remarkable  New  England  landscapes  represents  the  avalanche  in  the  Notch 
of  the  White  Monntains^  which  was  attended  with  such  disastrous  results 
to  the  dwellers  in  the  valley.  But  Mr.  Hill  will  be  identified  in  future 
with  California,  where  he  has  become  a resident,  and  has  devoted  his  ener- 
gies to  painting  some  of  the  magniticent  scenery  of  that  marvellous  region, 
where  the  roar  of  the  whirlwind  and  the  roll  of  the  thunder  reverberate 
like  the  tread  of  tlie  countless  millions  who  evermore  march  to  the  west- 
ward. As  he  sat  on  the  edge  of  tlie  precipice,  the  forerunner  of  coming 


100 


ART  IN  AMERICA. 


ages,  ami  painted  tlie  sublime,  solitary  depths  of  the  Yosemite,  did  the 
artist  realize  that  with  every  stroke  of  the  hriisli  lie  was  aiding  the  ad- 
vance guard  of  civilization,  and  driving  away  the  desolation  which  gave 
additional  grandeur  to  one  of  the  most  extraordinary  spots  on  the  planet? 
In  his  great  painting  of  the  Yosemite  he  seems  to  have  been  inspired  by  a 
reverential  spirit;  he  has  taken  no  liberties  with  his  subject,  but  has  en- 
deavored with  admii-able  art  to  convey  a correct  impression  of  the  scene; 
and  the  work  may  be  justly  ranked  with  the  best  examples  of  the  Ameri- 
can school  of  landsca])e-painting. 

The  first  fever  of  the  California  rush  had  subsided  when  the  uneasy 
explorer  again  stirred  the  enthusiasm  of  adventurous  artists  liy  thrilling 
descriptions  of  the  Yellowstone  lliver,  its  Tartarean  gorges,  and  the  lurid 
splendor  of  its  sul[)hurous  cliffs  and  steaming  geysers.  Once  more  the 
landsca})e  artist  of  the  countiw  was  moved  to  go  forth  and  make  known 


to  us  those  unrevealed  wonders;  and  Thomas  Moran,  “taking  his  life 
in  his  hands,”  in  the  language  of  religious  cant,  asjiired  to  capture  the 
bouquet,  the  first  bloom,  from  this  newly-opened  draught  of  inspiration. 


Till-;  YOSKMITK.” [tHOMAS  II1LI..J 


THE  BATIIEUS.” — [tHOMAS  MOUAN.J 


■<VA- 


AMERICAN  PAINTERS. 


103 


IVe  all  know  the  result.  Wlio  has  not  seen  his  splendid  painting  of  the 
“Gorge  of  the  Yellowstone,”  now  in  the  Capitol  at  Washington?  Grant- 
ing the  fitness  of  the  subject  for  art,  it  can  be  frankly  conceded  that  this 
is  one  of  the  best  paintings  of  the  sort  yet  produced.  The  vivid  local  col- 
ors of  the  rocks,  which  there  is  no  reason  to  doubt  have  been  faithfully 
rendered — for  Mr.  Moran  is  a careful  and  indefatigable  student  of  certain 
phases  of  nature — appear,  however,  to  give  such  works  a sensational  effect. 

This  seems  to  us  to  be  the  most  valuable  of  the  numerous  paintings  of 
Western  subjects  produced  by  this  artist.  It  would  be  a mistake,  how- 
ever, to  judge  him  wholly  by  the  more  ambitious  compositions  suggested 
by  tropical  or  Western  scenery.  Some  of  his  ideal  paintings  are  very 
clever,  and  show  ns  an  ardent  student  of  nature,  and  a mind  inspired  by  a 
fervid  imagination.  But  while  conceding  thus  much  to  the  talents  of  this 
artist — wdio  belongs  to  an  artistic  family,  two  of  his  brothers  being  also 
well-known  painters,  one  in  marine,  the  other  in  cattle  painting — we  can 
not  accord  him  great  original  powers.  lie  has  studied  the  technique  of 
his  calling  most  carefully,  and  has  bestowed  great  attention  to  the  meth- 
ods of  several  celebrated  artists ; but  we  are  too  often  conscious,  in  look- 
ing at  his  works,  that  his  style  has  leaned  upon  that  of  certain  favorite 
painters.  There  is  great  cleverness,  but  little  genius,  apparent  in  the 
landscapes  of  Mr.  Moran,  for  the  imitative  faculty  has  been  too  much 
for  him. 

Contemporary  with  our  school  of  grand  nature,  if  we  may  so  call  it, 
and  represented  by  artists  native  in  thought  and  education,  we  find  evi- 
dences of  another  beginning  to  assert  itself,  of  altogether  a different 
character.  The  former  deals  wholly  with  externals,  and  the  sulqect  is 
the  first  end  sought;  it  concerns  itself  altogether  with  objects,  and  not 
with  any  ulterior  thoughts  which  they  may  suggest  to  the  sensitive  imag- 
ination. The  latter,  on  the  other  hand,  searches  out  the  mystery  in  nature, 
and  analyzes  its  human  aspects.  It  is  the  vague  suggestions  seen  in  hills 
and  skies,  in  sere  woods  and  lonely  waters,  and  moorlands  fading  away  into 
eternity — it  is  their  symbolism  and  sympathy  with  the  soul  that  an  artist 
like  Mr.  Jervis  M‘Entee  seeks  to  represent  on  canvas.  This  is,  in  a word, 
the  subjective  art  to  which  we  have  already  alluded.  To  him  the  voice  of 
nature  is  an  elegy  ; the  fall  of  the  leaves  in  October  suggests  the  passing 
away  of  men  to  the  grave  in  a countless  and  endless  ]u*ocession  ; and 
whenever  he  introduces  the  agency  of  man  into  his  pictures,  it  is  as  if  he 


104 


ART  IN  AMERICA. 


were  fighting  with  an  nnseen  and  remorseless  destiny.  Exquisitely  poetic 
and  beautiful  are  the  antuiniial  scenes  of  this  artist,  the  I'eaches  of  russet 
woodlands,  the  expanses  of  sknrrying  clouds,  gray,  melancholy,  wild,  llis 
art  sings  in  a low  minor  key  that  finds  response  in  the  heart  of  multitudes 
who  have  suffered,  to  whom  the  world  has  been  a battle-field,  where  the 


LANDSCAPE. [jEKVIS  jVCENTEE.j 


losses  have  outweighed  the  gains,  and  have  left  them  gazing  into  the  mys- 
terious future  like  one  who  at  midnight  stands  on  the  brink  of  a tremen- 
dous abyss  into  which  he  must  be  hurled,  but  knows  not  what  are  the 
shuddering  possibilities  that  await  the  inevitable  plunge. 

A young  artist  of  Boston  died  in  Syria,  four  years  ago,  at  the  early  age 
of  twenty-five,  before  he  had  acquired  moi’e  than  local  repute,  who  gave 
promise  of  standing  among  the  foremost  of  American  landscape-painters. 
I refer  to  A.  P.  Close.  Certainly  no  artist  wo  have  produced  has  evinced 
more  abundant  signs  of  genius  at  so  early  an  age.  Nor  was  he  wholly  a 
landscape-painter;  the  figure  was  also  one  aim  of  his  art,  and  it  was  in 
the  combination  of  the  two  that  he  excelled.  lie  also  had  an  eye  fur 
color  that  has  not  been  too  common  in  our  art;  and,  wholly  untaught, 
expressed  his  moods  and  fancies  with  a force  that,  even  in  its  immaturity, 
suggested  the  master.  But  the  one  point  in  which  he  surpassed  most  of 


AMERICAN  PAINTERS. 


105 


om*  artists  up  to  this  time  was  in  the  singular  and  inexhaustible  activity 
of  the  imaginative  faculty.  It  is  strange  that  one  so  young  should  have 
so  early  manifested  in  his  art  a serious,  almost  morbid,  view  of  life.  It 
may  have  been  because  he  found  liimself,  before  the  age  of  twenty,  foi’ced 
to  provide  for  a fatherless  family,  and  to  devote  the  greater  part  of  his 
energies  to  what  was  to  him  the  uncongenial  work  of  drawing  on  wood. 

Less  subjective  and  morbid,  but  moved  by  a similar  feeling  for  the 
suggestions  of  nature,  A.  II.  Wyant  displays  a sympathy  with  scenery 
and  a masterful  skill  in  reaching  subtle  effects  which  place  him  among 
the  tirst  landscape-painters  of  the  age.  In  the  suggestive  rendering  of 
space  and  color,  of  the  manifold  phases  of  a bit  of  waste  land,  or  moun- 
tain glen,  or  sedgy  brook -side,  simple  enough  at  tirst  sight,  but  full 
of  an  inhnitiide  of  unobtrusive  beautv,  he  works  with  the  magic  of  a high- 
priest  of  nature;  his  style  is  broad  in  effect,  without  being  slovenly  and 
careless,  and  gives  a multitude  of  details  wdiile  I’eally  dealing  chiefly  with 


•*  “county  KERRY.” [a.  H.  'WYANT.] 

one  centi’al  and  prevailing  idea.  Mr.  Wyant’s  work  oc(*asionally  shows 
ti’aces  of  foreign  influences;  but  he  is  an  artist  of  too  mucli  original  power 
to  be  under  any  necessity  to  stunt  himself  by  the  imitation  of  the  style  of 
any  other  artist,  however  great. 


106 


ART  IN  AMERICA. 


Homer  Martin  is  another  painter  who  views  nature  for  the  sentiment 
it  suggests,  while  he  is  impressed  chiefly  by  color  and  light;  for  form  he 
seems  to  have  less  feeling.  But  he  is  a lyrist  with  the  brush,  and  his  sym- 
pathy with  certain  aspects  of  nature  is  akin  to  idolatry.  With  a few  in- 
tense and  telling  strokes,  he  brings  before  ns  the  splendors  of  sunset  or 
the  qnietnde  of  twilight,  the  gray  vapors  of  morning  creeping  over  dank 
woodlands  or  the  sublime  pathos  of  lonely  sands,  haunted  by  wild  fowl 
and  beaten  by  the  hollow  seas.  But  we  have  no  painter  whose  art  is  so 
unequal : in  all  his  woiBs  there  is  absolute  freedom,  freshness,  and  origi- 
nality; his  scheme  of  color  is  altogether  his  own,  full  of  luminousness  and 
purity;  but  he  is  weak  in  technique,  and  thus  he  alternately  startles  us 
by  the  brilliance,  beauty,  and  suggestiveness  of  one  painting,  and  the  pal- 
pable failure  to  reach  the  desired  end  in  another.  However,  this  very  ir- 
regularity in  achievement  shows  that  he  is  subject  to  inspirations,  and 
thus  partakes  of  the  character  of  genius,  which,  if  it  were  of  a higher 
order,  would  be  more  often  successful  in  its  attempts. 

In  the  works  of  these  painters  we  see  abundant  reason  to  believe  in  the 
permanent  vitality  of  American  landscape  art,  and  evidence  that  it  is  not 
inclined  to  run  in  a conventional  groove.  Just  so  long  as  the  artists  who 
represent  it  continue  to  assert  their  individuality  with  such  nerve  and 
keen  perception  of  the  essential  truths  of  nature,  art  is  in  a healthy  and 
progi'essive  condition.  If  further  evidence  of  this  were  needed,  we  might 
cite  the  landscapes  of  J.  Appleton  Brown,  who,  after  a rather  discour- 
aging servitude  to  Corot,  is  at  last  beginning  to  show  us  the  reserve  power 
of  which  he  is  capable  when  he  is  more  concerned  with  nature  than  with 
imitating  the  style  and  thoughts  of  another.  Ernest  Longfellow,  a son 
of  the  poet,  is  another  exemi>lar  of  the  sturdy  and  healtliful  personality 
which  everywhere  crops  out  in  our  landscape  aid.  While  it  cannot  be 
said  that  his  paintings  suggest  greatness,  they  breathe  a true  spirit,  and 
possess  a purity  of  color  that  is  very  attractive. 

I).  AL.  C.  Boutelle,  long  resident  at  Bethlehem,  Pennsylvania,  and 
rarelv  exhiluting  in  public  in  late  years,  is  well  known  by  such  works  as 
‘‘The  Trout  Brook  Shower”  and  engravings  of  other  paintings  by  him, 
as  an  artist  of  originality  and  force,  who  seems  to  combine  in  his  style 
some  of  the  best  traits  of  the  xLmerican  School  of  landscape-painting. 

E.  M.  Bannister,  of  Providence,  is  also  a man  of  genius.  In  the  mat- 
ter of  drawing  he  is  weak;  but,  although  he  has  never  been  abroad,  we 


“the  ADIKONDACKS.'’ — [llOMEK  MARTIN.] 


t 


AMERICAN  PAINTERS. 


109 


recognize  in  liis  treatment  of  masses,  and  the  brilliance  of  his  method  of 
managing  light  and  color,  the  progressive  transition  through  which  our 
landscape  art  is  passing,  even  when  it  does  not  pay  allegiance  to  foreign 
intiiiences. 

Our  marine  art  of  the  last  fifteen  years  has  shown  that  the  illimitable 
aspects  of  the  sea  are  also  receiving  increased  attention,  and  are  calling 


A LANDSCAPE. — [j.  W,  CASILEAR..] 

forth  some  of  the  best  art  talent  of  the  country.  It  may  be  ])artly  due  to 
the  advent  of  M,  F.  II.  De  Haas,  who  came  here  from  Holland  already 
an  accom[)lished  artist,  who  had  done  so  well  in  his  native  land  as  to  be 
a[)pointed  court  painter  to  the  queen.  An  artist  of  brilliant  parts,  al- 
though sometimes  inclined  to  sensationalism,  he  has  undoubtedly  created 
some  S})lendid  compositions;  and  his  influence  must  have  been  of  decided 


110 


ART  IN  AMERICA. 


importance  during  tins  period.  While  he  has  been  working  in  'New  York, 
two  marine  painters  of  Boston  have  also  executed  some  striking  and  beau- 
tiful works.  I refer  to  John  E.  C.  Petersen  and  William  E.  Norton. 
The  former  died  young,  in  1876.  He  was  by  birth  a Dane,  and  in  per- 
sonal appearance  a viking:  tall,  handsome,  tawny  - haired,  with  a clear, 
sharp  blue  eye,  and  a bearing  that  reminded  one  of  an  admiral  on  the 
quarter-deck  of  his  frigate  swooping  down  with  flying  sheets  across  the 
enemy’s  bow  and  pouring  in  a raking  tire.  Those  who  have  seen  him  will 
never  forget  the  grand  figure  of  Petersen,  the  vciy  impersonation  of  a son 
of  the  sea.  When  he  first  began  to  paint  in  Boston  Ins  pictures  were 
weak  in  color  and  rude  in  drawing.  But  he  improved  with  marvellous 
rapidity,  and  at  the  time  of  his  death  had  few  peers  in  marine  art.  Every 
inch  a sailor,  to  him  a ship  was  no  clumsy  mass  laid  awkwardly  on  the 
top  of  the  water,  as  too  many  painters  represent  it,  but  a thing  of  life, 
with  an  individuality  of  its  own,  graceful  as  a queen,  and  riding  the  waves 
like  a swan.  ^‘Making  Sail  after  a Storm,”  representing  a clipper  ship 
shaking  out  her  top-sails  in  the  gray  gloom  that  succeeds  a storm,  and 
rising  massively  but  easily  against  the  sky  on  the  crest  of  the  weltering 
seas,  is  a very  strong  picture.  So  also  is  his  “After  the  Collision,”  and 
“A  Ship  Punning  before  a Squall.”  When  shall  w^e  see  his  like  again? 

Mr.  Norton  began  life  as  a house-painter,  and  is  related  to  a family 
of  ship-builders.  He  has  himself  made  several  voyages  before  the  mast, 
and  is  therefore  well  equipped,  so  far  as  observation  goes.  He  has 
painted  many  works,  sometimes  wdth  more  rapidity  than  comports  with 
artistic  success;  and  his  style  is  occasionally  hard,  mannered,  and  mechan- 
ical. But  he  is  an  enthusiast  for  his  art,  and  sometimes  a happy  inspi- 
ration enables  him  to  turn  off  a painting  that  entitles  him  to  a high  rank 
among  the  marine  painters  of  the  age.  He  has  been  most  happy  in  quiet 
effects  and  fog  scenes,  aud  a composition  called  the  “ Fog-Horn,”  repre- 
senting two  men  in  a dory  blowing  a horn  to  warn  away  a steamer  that 
is  stealthily  approaching  them  ont  of  the  fog,  is  a veiy  interesting  work. 
“ Crossing  the  Grand  Banks”  is  the  title  of  another  painting  by  this  artist, 
in  which  the  luminous  haze  of  a midday  fog  and  a large  ship  threading 
her  way  through  a fleet  of  fishing-schooners,  are  rendered  with  a truth  of 
color  and  majesty  of  form  that  give  this  work  an  important  position  in 
contemporary  x\merican  art. 

Inferior  to  these  artists  as  a draughtsman  or  in  knowledge  of  ships, 


AMEEICAX  PAINTERS. 


Ill 


Arthur  Quartley  has,  however,  won  a rapid  and  deserved  reputation  for 
coast  scenes  and  effects  of  shimmering  light  on  still  water.  Prettiness 
rather  tlian  beauty  is  sometimes  too  evident  in  his  work : but  he  com- 
poses with  decided  originality,  showing  a real  passion  for  the  effects  after 


“ship  ashore.” — [ir.  f.  h.  de  haas.] 


which  he  strives,  and  his  skies  are  often  very  strong.  A “ Storm  off  the 
Isles  of  Shoals”  is  one  of  his  most  important  compositions.  Mr.  Lansil, 
of  Boston,  seems  to  be  practically  ignorant  of  the  tirst  principles  of  draw- 
ing and  perspective,  but  he  has  shown  a feeling  for  color  and  light,  and 
we  have  at  present  few  artists  who  equal  him  in  painting  still  harbor 
scenes,  marbled  with  reflections  wavering  on  a glassy  surfai^e.  Among 
our  more  clever  coast  painters  we  cannot  omit  the  mention  of  A.  T. 
Bricher,  who  renders  certain  familiar  scenes  of  the  Atlantic  shore  with 
much  realistic  force,  but  little  feeling  for  the  ideal.  J.  C.  Nicoll  seems 
to  show  more  promise  in  this  direction.  The  color  and  technique  of  his 
])ictures  are  veiy  clever  and  interesting,  and  well  illustrate  the  sea  as  it 
looks  to  a landsman  from  terra  firma.  Both  of  these  artists  have  painted 
extensively  in  aquarelle^  in  which  medium  they  have  achieved  some  im- 
portant I’esnlts ; which  may  justly  be  added  regarding  the  marine  jiaint- 
ings  of  F.  A.  Sil\-a.  As  a water- colorist  Mr.  Nicoll  is  not  excelled  by 


112 


ART  IN  AMERICA. 


any  of  our  artists  now  coucerued  with  coast  scenes;  and  some  of  Ids  land- 
scapes in  aquarelle  sometimes  rival  his  marines.  What  we  observe  in 
most  of  onr  marine-painters,  however,  is  weakness  in  the  matter  of  origi- 
nal composition.  One  would  think  that  no  object  in  nature  would  stimu- 
late the  imagination  and  expand  the  mind  more  than  the  sea.  But  it  does 
not  seem  to  have  that  effect  in  our  marine  art  as  yet,  excepting  here  and 
there  a solitary  instance. 

No  fact  better  attests  the  active  and  prosperous  character  of  American 
art  than  the  rapid  success  which  the  culture  of  water-colors  has  achieved 
among  us.  In  1S65  a collection  of  English  water- color  paintings  was 
brought  to  this  country,  and  exhibited  in  New  York.  It  attracted  much 
attention  ; and  although  a few  artists,  like  Messrs.  Parsons  and  Falconer, 
had  already  used  this  medium  here,  generally  as  amateurs,  this  seems  to 
have  been  the  first  occasion  that  stimulated  our  artists  to  follow  the  art 
of  water -color  painting  seriously.  A society,  headed  by  such  men  as 
Messrs.  Samuel  Colman,  G.  Burling,  well  known  notwithstanding  his  early 


“a  foggy  MOUMNG.” — E.  NORTON. j 

death,  as  a painter  of  game  birds,  J.  M.  Falconer,  and  P.  Swain  Gifford, 
was  formed  within  a year;  Mr.  Colmaii  was  the  first  president,  and  the 
first  annual  exhibition  was  held  in  the  halls  of  the  Academy  of  Design 
in  1S6T.  Twelve  exhibitions  have  now  been  held,  and  Messrs.  James 


AMERICAN  PAINTERS. 


113 


Smillie.and  T.  W.  Wood  have  in  turn  succeeded  Mr.  Colinan  in  the  pres- 
idency. A numerous  school  of  artists  has  sprung  up,  finding  expression 
wholly  in  water-colors,  like  Miss  Susan  Hale  or  Henry  Farrar,  the  able 
landscape-painter;  while  many  of  our  leading  artists  in  landscape  and 
genre  have  learned  in  this  short  period  to  work  with  equal  success  in 
aguarelle  and  oil.  The  later  exhibitions  have  been  characterized  by  an 
individuality  and  strength  that  compare  most  favorably  with  the  exhibi- 
tions of  the  older  societies  of  London. 

Another  interesting  feature  of  the  last  part  of  the  period  under  con- 
sideration is  the  increasino;  attention  bestowed  on  the  drawins^  of  the  fis:- 
lire.  The  number  of  genre  artists  has  notably  increased;  and  the  quality 
of  their  work  has,  on  the  whole,  been  on  a higher  plane.  The  war  gave 
an  impetus  to  this ‘department,  with  its  many  sad  or  comic  situations,  and 
the  increasing  immigration  of  the  peasantry  of  Europe,  and  the  growing 
variety  of  our  national  types  and  street  scenes,  have  all  contributed  to 
attract  and  stimulate  the  artistic  eye  and  fancy.  To  mention  all  the 
artists  among  ns  wdio  have,  especially  of  late,  achieved  more  or  less  success 
in  this  line,  would  be  to  enumerate  a long  catalogue,  and  we  must  content 
ourselves  with  the  brief  mention  of  a few  who  seem,  perhaps,  to  be  the 
most  noteworthy,  and,  at  the  same  time,  indigenous  in  their  style. 

J.  B.  Irving,  who  has  but  recently  passed  away,  executed  some  very 
clever  cabinet  compositions,  delicately  drawn  and  painted,  somewhat  in  the 
modern  French  style,  generally  interiors,  wdth  figures  in  old-time  costume. 
A very  favorable  specimen  of  his  work  is  represented  in  a painting  enti- 
tled “ The  End  of  the  Game.”  B.  F.  Mayer,  of  Annapolis,  has  also  de- 
voted himself  to  a similar  class  of  subjects  successfully.  He  is,  however, 
very  versatile,  and  gives  us  at  will  a gentleman  in  Louis  Quatorze  costume, 
elaborately  painted,  or  a bluff  tar  on  the  forecastle  on  the  lookout,  or  aloft 
tarring  down  the  rigging,  or  a religious  ceremonial  in  the  wigwams  of  the 
Horth-west.  Marcus 'AYaterman,  of  Providence,  has  displayed  much  dash 
in  genre  combined  with  landscape,  and  is  fresh  and  vigorous  in  shde ; 
while  such  a carefully  executed  work  as  his  “Gulliver  at  Lilliput”  is 
highly  creditable  to  our  art.  J.  W.  Champney  studied  abroad  under 
Frere,  and  also  at  Antwerp,  and  is  one  of  the  most  broad-minded  of  our 
younger  artists;  indeed,  it  is  refreshing  to  meet  an  artist  so  unbiassed  by 
prejudice.  His  foreign  studies  have  in  no  wise  narrowed  his  intellectual 
sympathies.  His  small  genre  compositions,  especially  of  child  life,  often 

8 


11^  ART  IN  AMERICA. 

togetlier  with  landscape,  have  been  carefully  finished— latterly  with  an 
especial  regard  to  the  values.  Professor  John  P.  Weir,  who  comes  of  an 
artistic  family,  and  is  Superintendent  of  the  Academy  of  Art  at  IS^ew 


A MARINE. [ARTHUR  QUARTLEY.] 

Haven,  has  shown  capacity  and  nerve  in  his  welhknown  painting  called 
“Forging  the  Shaft,”  forcibly  representing  one  of  the  most  striking  inci- 
dents in  a foundry;  and  A.  W.  Willai*d,  of  Cincinnati,  has  struck  out  in  a 
similar  vein.  Energy  of  action,  and  an  effort  after  effect  verging  on  exag- 
geration and  caricature,  are  the  characteristics  of  the  style  with  which  he 
has  attempted  such  novel  compositions  as  “Yankee  Doodle”  and  “Jim 
Bludsoe.”  They  suggest  in  color  the  literature  of  xkrtemus  Ward  and 
Walt  Whitman.  At  the  same  time,  we  recognize  in  such  thorough  indi- 
viduality a very  promising  attempt  to  assert  the  possibilities  of  certain 
phases  of  our  national  genre.  These  traits  have  been  treated  with  less 
daring  but  with  more  artistic  success  by  two  of  our  best-knowm  genre 
painters — T.  W.  AFood  and  J.  G.  Brown.  Mr.  AVood,  who  is  president  of 
the  AYater- color  Society,  and  employs  both  oil  and  water  colors,  spent 
several  of  the  first  years  of  his  career  at  the  South,  and  discovered  of  what 
importance  our  colored  citizens  might  prove  in  our  art  — their  squalor, 
pictnresqueness,  broad  and  kindly  humor,  and  the  pathos  which  has  in- 
vested their  fate  wdth  nn usual  interest.  This  artist’s  first  successful  vent- 
ure in  genre  was  with  a painting  of  a quaint  old  negro  at  Baltimore;  and 


AMERICAN  PAINTERS. 


115 


since  then  he  has  given  ns  many  characteristic  compositions  suggested  by 
the  lot  of  the  slave,  although  he  has  not  confined  liimself  to  this  subject, 
but  has  also  picked  up  excellent  subjects  among  the  newsboys  in  our 
streets,  and  amidst  the  homespun  scenes  of  rural  life.  Mr.  Wood’s  style 
is  notable  for  chiar-oscuro^  and  his  drawing  is  generally  careful,  correct, 
and  forcible,  and  his  compositions  harmonious. 

Mr.  Brown  has  also  found  that  success  and  fame  in  genre  can  be  ob- 
tained without  going  abroad  to  seek  for  subjects.  To  him  the  gamins  of 
our  cities  are  as  artistically  attractive  as  those  of  Baris,  and  a girl  w^ander- 
ing  by  our  sea-shore  as  winsome  as  if  on  the  beach  at  Nice  or  Scheve- 
ningen,  and  an  old  fisherman  at  Grand  Menan  as  pictorial  as  if  he  were 
niMer  the  cliffs  at  Etretat.  Fault  is  sometimes  found  with  the  fact  that 
the  street  lads  painted  by  Mr.  Browm  have  always  washed  their  faces  be- 
fore posing,  which  is  according  to  the  commands  of  St.  Paul,  but  not  of 
art  canons,  if  we  accept  Mr.  Buskin’s  dictum  regarding  the  artistic  value 
of  dirt.  Bating  this  apparently  trifling  difficulty,  however,  it  must  be 
admitted  that  he  often  offers  ns  a very  characteristic  and  successful  bit  of 
genre.  Gilbert  Gaul  and  J.  Burns,  pupils  of  Mr.  Brown,  merit  a word  of 
praise  in  this  connection,  for  giving  ns  reason  to  hope  in  time  for  some 
satisfactory  work  from  their  easels. 

Child  life  finds  a w^arm  friend  and  delineator  in  S.  J.  Guy,  who 
has  made  many  friends  by  the  kindly  way  in  wdiich  he  has  treated  the 
simple  pathos  and  humor  of  childhood.  He  is  an  admirable  draughtsman, 
and  finishes  his  work  with  great  nicety — sometimes  to  a degree  that  seems 
to  rob  the  picture  of  some  of  its  freshness  and  piquancy;  but  it  cannot  be 
denied  that  Mr.  Guy  has  often  struck  a chord  in  the  popular  heart,  not 
merely  by  Ids  choice  of  subjects,  but  by  legitimately  earned  success  in  his 
art  as  wmll.  Scenes  of  domestic  life  have  also  been  treated  sometimes 
very  interestingly  by  Messrs.  B.  F.  Reinhart,  Ehninger,  Blanvelt,  Satterlee, 
Howland,  Wilmarth,  and  Yirgil  Williams.  Oliver  J.  Lay,  although  a slow, 
careful  artist,  has  executed  some  thoughtful  and  refined  in-door  scenes, 
taken  from  domestic  life,  which  show  a thorough  appreciation  of  the  fact 
that  art,  for  itself  alone,  is  the  only  aim  the  true  artist  should  pui-sue. 
E.  L.  Henry  surprises  one  by  the  elaboration  of  his  wnn-k,  and  is  open  to 
the  charge  of  crudeness  in  color  and  hardness  in  outline;  but  occasionally 
he  gives  us  a w’ell-balanced  composition,  like  the  beach  scene,  wdth  horses 
and  a carry-all  in  the  foreground,  entitled ‘‘ Waiting  for  the  Bathers.” 


110 


ART  IN  AMERICA. 


“ahgting  the  question.” — [t.  w.  wood.] 

But  it  is  in  tlie  works  of  Messrs.  Eastman  Jolinson  and  Winslow  Ho- 
mer that  we  find  tlie  most  snccessfnl  rendering  of  American  genre  of  the 
present  day  as  distingiiislied  from  that  wliicli  bears  unmistakable  evi- 
dence of  foreign  insjiiration.  Mr.  Johnson,  as  a student  at  Diisseldorf  and 
other  art  centres  of  Europe,  miglit  be  expected  to  show  the  fact  in  his 
art;  but,  instead  of  doing  so,  we  liave  no  painter  who  has  a more  individ- 
ual style.  There  is  nncertainty  in  his  drawing  sometimes,  but  liis  color 
and  composition  are  generally  excellent,  and  the  choice  of  subjects  are  at 
the  same  time  popular  and  artistic.  We  have  had  no  painter  since  Mount 
who  has  done  more  to  elevate  the  character  of  genre  art  in  the  cominu- 
nity.  Successful  in  portraiture  and  ideal  heads,  Mr.  Johnson  has  achieved 
his  best  efforts  in  the  liomely  scenes  of  rustic  negro  life,  or  from  a thor- 
ough  sympathy  with  the  simplicity  and  beauty  of  childhood.  Hone  who 
have  seen  his  painting  called  the  ‘‘Old  Stage-Coach,”  representing  a rol- 
licking group  of  boys  and  girls  playing  on  the  rusty  wreck  of  an  aban- 
doned mail-carriage,  can  ever  doubt  again  the  possibilities  of  genre  art  in 
this  country,  although  some  of  his  simpler  compositions  are  more  to  our 
liking.  There  is,  however,  nothing  startling  or  especially  novel  in  the 
style  of  Mr.  Johnson.  It  is  quiet  and  unsensational. 


AMERICAN  PAINTERS. 


117 


It  is  to  the  eccentric  and  altogether  original  compositions  of  Winslow 
Homer  that  we  turn  for  a more  decided  expression  of  the  growing  wea- 
riness of  onr  people  witli  the  conventional,  and  a vague  yearning  after  an 
original  form  of  art  speech.  The  freshness,  tlie  crudity,  and  the  solid 
worth  of  American  civilization  are  well  typified  in  the  thoroughly  native 
art  of  Mr.  Homer.  Ho  artist  has  sliown  more  versatility  and  inventive- 
ness in  choice  of  subject,  and  greater  impatience  with  acce2:)ted  methods. 
Impatience,  irritability,  is  written  upon  all  his  works  — he  is  evidently 
striving  after  the  unknown.  But  the  key-note  of  his  art  seems  to  be  a 
realistic  endeavor  to  place  man  and  nature,  landscape  and  genre^  in  har- 
monious juxtaposition;  never  one  alone,  but  both  aiding  each  other,  they 
are  ever  the  themes  of  his  brush.  His  figures  are  often  stiff  or  posed  in 
awkward  attitudes,  and  yet  they  always  arrest  the  attention,  for  they  are 
inspired  by  an  active,  restless  brain,  that  is  undoubtedly  moved  by  the  im- 
pulse of  genius.  It  is  the  values,  or  true  relations  of  objects  as  they  actu- 
ally appear  in  nature,  that  this  artist  also  seeks  to  render;  while  in  his 
reach  after  striking  subjects  or  compositions  he  not  rarely  boi’ders  on  tlie 
sensational.  But  in  some  of  his  masterly  water-color  sketches,  which  are 
almost  impressionist  in  treatment,  or  such  more  finished  works  as  “The 
Cotton  Pickei’s,”  a scene  from  Southern  plantation  life,  Mr.  Homer  asserts 
his  right  to  be  considei’ed  the  founder  of  a new  school  of  genre  paint- 
ing. The  repose  which  is  lacking  in  his  style  at  present  may  come  to 
him  later,  or  be  grafted  upon  it  by  those  who  come  after  liim. 

George  Fuller,  of  Boston,  is  another  artist  in  whose  works  we  see  an 
additional  proof  of  the  growing  importance  attached  to  the  painting  of 
the  figure  in  our  art.  IBs  paintings  indicate  the  presence  among  us  of  a 
vigorous,  original  personality,  that  is,  of  a genius  striving  for  utterance. 
They  are  incomplete,  rarely  altogether  satisfactory ; but  we  feel,  in  tlie 
presence  of  such  a subtle,  suggestive,  mysterious  composition  as  the  “Rom- 
many  Girl,”  vaguely  thrilling  us  with  the  deep  meaning  of  her  weirdly 
glancing  eyes,  and  weaving  a mystic  spell  over  our  fancy,  that  a mind 
akin  to  that  of  Hawthorne  is  here  striving  for  utterance,  and  unconsciously 
infusing  new  vitality  into  our  genre  art. 

As  an  influence  in  the  same  direction,  the  compositions  of  AVilliam 
Magrath  command  sincere  attention.  It  is  not  so  many  years  ago  since  ho 
was  painting  signs  in  Hew  York,  and  now  we  see  him  one  of  the  strongest 
artists  in  genre  on  this  side  of  the  Atlantic.  Mr.  Magrath  generally  paints 


118 


AKT  IN  AMERICA. 


single  figures,  associated  witli  rural  life — a rnilkniaid,  or  a farmer.  Nat- 
urally there  is  inequality  in  tlie  results  achieved,  and  sometimes  manifest 
weakness.  But  we  note  a constant  progress  in  the  quality  of  Ids  art,  and 
an  evidence  of  imagination  which  has  been  unfortunately  too  rare  in 
American  genre  since  the  days  of  William  Mount.  By  this  we  mean  the 


“the  rose.” [b.  F.  MAYER.] 


identification  of  the  artist  with  his  subject,  which  renders  it  dramatic,  and 
inspires  it  with  that  touch  of  nature  that  makes  the  whole  woidd  kin.  In 
this  respect  he  occasionally  suggests  the  iidmitable  humanity  which  is  the 
crowning  excellence  of  the  paintings  of  Jean  Fran^'ois  Millet. 

It  is  with  additional  pleasure  that  we  note  the  works  of  some  of  our 


AMERICAN  PAINTERS. 


119 


more  recent  native  genre  artists,  because  we  see  indicated  in  them  a grow- 
ing perception  of  the  fact  that  abundant  subjects  may  be  found  at  our 
own  doors  to  occupy  the  pencil  of  the  ablest  minds.  It  is  not  uncommon 
to  hear  young  artists  who  have  studied  in  the  ateliers  of  Paris  and  Mu- 
nich, and  who  have  returned  here  to  work,  complaining  that  they  hnd  no 
sources  of  inspiration  here,  no  subjects  to  paint  at  home.  This  dearth  of 
subjects  certainly  would  be  a very  grave  obstacle  to  tlie  ultimate  develop- 
ment of  a great  American  school  of  art,  if  it  actually  existed.  But  on 
examining  tlie  cpiestion,  it  seems  to  us  tliat  the  difficulty  lies  not  in  the 
lack  of  subjects,  but  in  the  way  the  artist  has  learned  to  look  at  things, 
and  tlie  range  of  sympathies  to  which  he  has  become  accustomed  by  his 
foreign  experiences. 

The  artist  who  is  the  man  of  his  time  and  his  country  never  yet  lacked 
material  for  inspiration  in  tlie  every-day  life  and  every-day  objects  around 
him.  Goethe  has  said  that  the  truest  poetry  is  that  woven  out  of  the  sug- 
gestions gained  from  simple  things.  There  has  never  yet  been  such  a 
state  of  society  or  such  an  order  of  scenery  that  the  artist  who  was  in 
sympathy  with  it  could  not  find  some  poetry,  some  color,  some  form  or 
light  or  shade  in  it  that  would  stir  the  finer  elements  of  his  genius,  stim- 
ulate his  fancy,  and  arouse  his  inventive  powers.  Some  quality  of  beauty 
is  there,  concealed  like  the  water  in  the  rock  ; the  magician  comes  whose 
rod  can  evoke  the  imprisoned  element,  and  others  then  see  what  he  had 
first  seen. 

As  we  stroll,  for  example,  through  the  streets  and  squares  of  Xew 
York’s  metropolis,  by  its  teeming  wharves,  and  among  its  dilapidated  ave- 
nues of  trade,  we  are  astounded  to  think  that  any  one  could  ever  look  on 
this  seething  mass  of  humanitw,  these  various  types  of  man,  and  the  vari- 
ous structures  he  has  erected  here,  and  find  in  them  no  inspiration  for  his 
brush  or  his  pen.  What  if  there  are  no  feluccas  or  painted  sails  in  our 
harbor;  one  has  but  to  cross  the  river  on  the  ferry-boat  at  sunrise  or  sun- 
set to  see  wonderful  picturesqueness  and  beauty  in  our  sloops  and  schoon- 
ers, our  shipping  thronging  the  piers,  all  smitten  by  the  glory  of  the  rosy 
light,  or  over-canopied  by  scowling  gray  masses  of  storm-driven  scud. 

Or  if  one  sauntei’s  up  our  streets  and  gazes  on  the  long  vista  of  Broad- 
way toward  niglitfall,  as  the  lazy  mist  gradually  broods  over  the  roofs  and 
delicately  tones  and  softens  the  I'eceding  rows  of  buildings,  he  shall  see 
effects  almost  as  entrancing  and  poetic  as  those  which  charm  the  enthu- 


120 


ART  IN  AMERICA. 


siast  who  beholds  the  sun,  a crimson  disk,  couching  in  a gray  bank  of 
smoke  at  the  end  of  the  bonlevards  of  Paris,  on  an  evening  in  October. 

Is  there  nothing  picturesque  and  ai-tistic  in  the  Italian  fruit  venders  at 
the  street  corners,  especially  wlien  after  dark  they  light  their  smoking 
torches,  that  waver  with  ruddy  glow  over  brilliant  masses  of  oranges  and 
apples  ? 

There  is  yet  another  scene  which  we  often  encounter,  especially  early 
in  the  morning,  at  a time  when  perhaps  most  artists  are  yet  wrapped  in 
dreams.  We  refer  to  the  groups  of  horses  led  through  the  streets  to  the 
horse-market.  Untrimmed,  unshorn,  massively  built,  and  marching  in  files 


“DilESS  PARADE.” [j.  G.  BROVViN.j 

by  fours  and  fives  with  clanging  tread,  sometimes  thirty  or  forty  together, 
they  present  a stirring  and  powerful  effect,  which  would  thrill  a Bonheur 
or  a Schreyer.  Why  have  none  of  our  artists  attempted  to  paint  them? 
Have  we  none  with  the  knowledge  or  the  power  to  render  the  subject 
with  the  vigor  it  demands  ? 

Ho,  we  lack  not  subjects  for  those  who  know  how  to  see  them  ; while 
nothing  is  more  certain  than  the  truth  that  a national  art  can  only  be 
founded  and  sustained  by  those  who  are  wholly  in  sympathy  with  the 
influences  of  the  land  whose  art  they  are  aiding  to  establish.  Those  who 
are  familiar  with  American  arc  will  easily  recall  a number  of  our  artists, 


A BED-TIME  STOIIY.” — [s.  J.  (JUY.J 


AMERICAN  PAINTERS. 


123 


THE  MOTHER. [EASTMAN  JOHNSON.] 

educated  both  at  home  and  abroad,  wlio  liave  no  difficnltj  in  finding-  mate- 
rial around  liome,  and  at  the  same  time  take  the  lead  among  ns  in  point 
of  artistic  strength. 

While  indicating,  however,  some  of  the  many  subjects  which  addi-ess 
one  at  every  turn  fn  our  land,  and  render  it  unnecessary  for  artists  to  go 
abroad  for  a supply  of  fuel  for  their  fancy,  we  would  not,  on  the  other 
hand,  imply  that  an  artist  should,  in  order  to  be  an  exponent  oi‘  leader  of 
a native  art,  be  confined  exclusively  to  one  class  of  subjects.  Although  it 
is  one  of  the  most  remarkable  and  indisputable  laws  in  literature  and  art 
that  those  who  are  identified  wdth  nature  and  human  nature,  as  it  npjKUirs 
in  their  native  countiy,  ai'e  at  the  same  time  most  cosmopolitan,  still  it  is, 
after  all,  not  so  much  in  the  subjects  as  in  the  treatment  that  the  individ- 


124: 


ART  IN  AMERICA. 


Tialitj  of  a national  art  is  best  demonstrated.  It  is  when  the  artist  is  so 
thoroughly  imbued  with  the  spirit  of  the  institntions  of  his  native  land 
that  it  appears  in  his  art,  whatever  be  the  subject — it  is  tlien  that  he  is 
most  national.  We  hear  a great  deal  about  the  French  school  and  the 
English  school ; but  it  is  not  because  each  school  finds  its  subjects  invari- 
ably at  home  that  it  possesses  an  individuality  of  its  own,  but  because  we 
see  unconsciously  reflected  in  it  the  influences  of  the  land  that  gave  it 
birth.  For  this  reason,  if  an  English  and  a French  painter  shall  each  take 
the  same  scene,  and  that  a wholly  foreign  one,  say  an  Oriental  group,  al- 
though the  subject  be  a foreign  subject  and  identical  in  each  canvas,  you 
can  discern  at  once  that  one  picture  is  English,  the  other  French  in  treat- 
ment. Each  artist  has  stamped  upon  his  work  the  impression  of  the  influ- 
ences of  the  people  to  which  he  belongs. 

Patriotism,  a wholesome  enthusiasm  for  one’s  own  country,  seems,  then, 
in  some  occult  way  to  lie  at  the  basis  of  a native  art,  and  native  art  found- 
ed on  knowledge  is  therefore  always  the  truest  art;  while  the  artist  who  is 
thus  inspired  will  generally  fiud  material  enough  to  call  forth  his  sesthetic 
yearnings  and  arouse  his  creative  faculties  at  his  own  door. 


SAIL-BOAT. [WINSLOW  IIOMKR.J 


In  passing  from  genre  to  our  later  portraiture  we  do  not  find  the  same 
proportionate  activity  and  intelligent  progress  that  we  see  in  other  depart- 


AMERICAN  PAINTERS. 


125 


ments  of  our  art,  although  some  creditable  painters  in  this  department  can 
be  mentioned.  Harvey  A.  Young,  of  Boston,  has  shown  a good  eye  for 
color,  and  seizes  a likeness  in  a manner  that  is  artistically  satisfactory, 
while  he  does  not  so  often  grasp  the  character  of  the  sitter  as  his  exter- 
nal traits.  Mr.  Custer,  of  the  same  city,  charmingly  renders  the  infantile 
beauty  of  childhood,  its  merry  blue  eyes,  the  dimpled  roses  of  the  cheeks, 
and  the  flaxen  curls  that  ripple  around  the  shoulders.  There  is,  hoAvever, 
too  mucli  sameness  in  his  work — a too  apparent  tendency  to  mannerism. 
Mrs.  Henry  Peters  Grey  has  a faculty  of  making  a pleasing  likeness.  She 
lias  executed  some  portrait  plaques  in  majolica  that  are  remarkable  evi- 
dences of  the  progress  ceramic  art  is  now  making  in  the  United  States. 
Mrs.  Loop  is  one  of  our  successful  portrait-painters.  Her  works  are  not 
strikingly  original,  but  they  are  harmonious  in  tone  and  color,  and  poetical 
in  treatment.  Henry  A.  Loop  has  also  executed  some  pleasing  portraits 
and  ideal  compositions;  of  the  latter,  his  ‘‘Echo”  is  perhaps  the  most  suc- 
cessful rendering  of  female  beauty  he  has  attempted.  Geoi’ge  H.  Story 
should  be  included  among  the  most  important  portrait- painters  of  this 
period.  His  work  is  characterized  by  vigor  of  style  and  pleasing  color; 
he  seizes  a likeness  without  any  uncertainty  in  technique.  His  genre 
compositions  and  ideal  heads  are  also  inspired  by  a refined  taste  and  cor- 
rect perception  of  the  principles  of  art.  William  Heniw  Furness,  of  Phil- 
adelphia, wlio  died  in  1867,  just  as  he  reached  his  prime,  was  allied  in 
genius  to  the  great  masters  of  portraiture  of  the  early  stages  of  our  art. 
He  matured  slowly.  His  first  efforts  showed  only  small  promise;  but  he 
had  the  inestimable  quality  of  growth,  and  has  been  equalled  by  few  of 
our  painters  in  the  study  and  rendering  of  character.  When  he  had  a 
sitter  lie  would  give  days  to  a preliminary  and  exhaustive  study  of  his 
mental  and  moral  traits. 

In  Darius  Cobb,  of  Boston,  great  earnestness  is  apparent  in  the  pursuit 
of  art,  together  witli  an  exalted  opinion  of  what  should  be  the  aims  of 
aesthetic  culture.  Mr.  Cobb  has  attempted  sculpture,  monumental  art,  por- 
traiture, and  the  painting  of  religious  compositions.  We  consider  it  a 
promising  sign  to  see  an  artist  of  such  energy  seeking  to  exalt  the  charac- 
ter of  his  pursuit.  His  works  seem,  however,  to  show  the  lack  of  a sys- 
tematic course  of  training  in  the  rudiments  of  tcclinique ; but  in  such 
strong  and  cliaracteristic  portraits  as  that  of  Kufus  Choate  he  has  exhib- 
ited decided  ability. 


126 


ART  IN  AMERICA. 


The  historic  art  of  the  period  has  been  neither  prolific  nor  attractive, 
with  a few  exceptions.  The  late  war  has  given  rise  to  some  important 
works,  like  Winslow  Homer’s  notable  ‘H^risoners  to  the  Front;”  and  Ju- 
lian Scott  has  been  measurably  successful  in  such  paintings  as  “ In  the 


“the  scout.” [WORDSWORTH  THOMPSON.] 


Cornfield  at  Antietam,”  representing  a charge  in  that  memorable  battle, 
which  belongs  to  a class  of  pictures  of  wfiicli  we  hope  to  have  more  in 
the  future.  There  is  a striving  after  originality  in  his  paintings  that  is  in 
the  right  direction.  Mrs.  C.  A.  Fassett,  who  has  executed  some  excellent 
portraits,  has  also  recently  composed  an  important  painting  of  the  ‘^Elec- 
toral Commission,”  of  wliose  merits  the  writer  can  only  speak  l)y  report. 

In  Wordsworth  Thompson  we  find  an  artist  who  seems  to  realize  tlie 
possibilities  of  American  historical  art.  Although  a pupil  of  Gleyre,  and 
for  a number  of  years  a resident  abroad,  there  is  no  evidence  of  servile 
subserviency  to  any  favorite  school  or  method  in  the  style  of  Mr.  Thomp- 
son. lie  is  an  excellent  draughtsman,  his  color  is  a happy  medium  be- 
tween the  high  and  low  keys  of  different  schools — fresh,  cool,  and  crisp — 


AMERICAN  PAINTERS, 


129 


and  his  work  is  thoronglily  finished,  and  yet  broad  in  effect.  lie  evidently 
has  no  hobbies  to  ride.  As  a designer  of  horses  lie  has  few  equals  in  this 
countiy.  If  we  have  a fault  to  find  with  him,  it  is  in  a certain  lack  of 
snap,  of  warmth,  of  enthusiasm  in  the  handling  of  a subject,  which  renders 
it  less  impressive  than  it  might  otherwise  be. 

Mr.  Thompson,  in  his  Mediterranean  wanderings,  gathered  material  for 
a number  of  attractive  coast  scenes,  effective  in  atmosphere  and  in  the 


“a  matin  song.” — [FIDELIA  I5KIDGES.] 


rendering  of  figures,  feluccas,  and  waves,  all  tending  to  illustrate  his  ver- 
satilit}\  Jlut  he  deserves  to  be  most  widely  known  on  account  of  scenes 
taken  from  Southern  life,  and  historic  compositions  suggested  by  the  late 
*,  or  illustrating  notable  events  of  the  llevolution.  For  pictures  of  this 

0 


war 


130 


ART  IN  AMERICA. 


description  Mr.  Tliompson  seems  to  ns  to  rank  next  to  Trumbull,  whose 
masterly  paintings  of  the  ‘‘Death  of  Montgomery”  and  the  “Battle  of 


STUDY  OF  A DOG. [fRANK  ROGERS.] 


Bunker  Hill,”  now  at  Xew  Haven,  have  liitherto  been  by  far  the  most 
remarkable  military  paintings  produced  by  an  American  artist.  Thei-e 
is  less  action,  tire,  and  brilliance  of  color  in  Mr.  Tliompsoirs  works,  but 
they  possess  many  admirable  qualities  that  entitle  them  to  much  respect. 
Among  the  most  notable  is  an  elaborate  composition  representing  the  Con- 
tinental army  defiling  before  General  Washington  and  his  staff  at  Phila- 
delphia. The  group  of  officers  and  horses  in  the  foreground  is  one  of  the 
best  pieces  of  artistic  work  recently  painted  by  an  American. 

Wlien  we  come  to  a consideration  of  animal  painting  in  this  period  of 
our  msthetic  culture,  we  hiid  that  it  is  the  most  barren  of  good  results  of 
any  branch  of  our  art.  ATe  are  at  a loss  to  account  for  this,  especiall}^ 
as  the  evidences  of  promise  are  also  less  prominent  than  in  landscape  and 
(jenre.  ^Sot  only  lias  the  number  of  the  artists  who  have  pursued  tin's 
department  been  proportionately  small,  but  the  quality  of  their  work  has 
been  of  a low  average,  and  lacking  in  the  originality  elsewhere  apparent. 

In  the  painting  of  pastoral  scenes,  with  cattle,  Peter  Moran,  of  Phila- 
delphia, probably  shows  the  most  originality  and  force;  and  Thomas  Pob- 
inson,  of  Boston,  has  displayed  exceptional  vigor  in  painting  the  textm*es 
of  cattle,  but  without  much  invention  in  composition.  James  Hart  for  the 


AMERICAN  PAINTERS. 


131 


past  twelve  years  has  made  a specialty  of  introducing  groups  of  cattle  into 
liis  idyllic  landscapes.  They  are  often  well  drawn  and  carefully  painted, 
and  are  in  general  effect  commendable,  although,  like  most  of  our  animal 
painters,  Mr.  Hart  does  not  seem  to  have  got  at  the  character  of  the  an- 
imal as  Snydei’s,  Morland,  or  Landseer  would  have  done.  Mr.  Dolph  has 
painted  some  creditable  cats  and  pngs  in  combination  with  interiors;  and 
two  young  artists,  Messrs.  George  Inness,  Jun.,  and  J.  Ogden  Brown,  have 
executed  some  promising  cattle  pieces. 

Miss  Bridges  must  be  credited  with  developing  a charming  and  original 
branch  of  art,  of  which  thus  far  she  seems  to  enjoy  a monopoly.  There  is 
exquisite  fancy,  as  well  as  capital  art,  in  the  method  in  which,  with  water- 
colors,  she  composes  stalks  of  grain  or  wild-flowers  in  combination  witli 
field  birds,  meadow-larks,  linnets,  bobolinks,  sparrows,  or  sand-pipers,  bal- 
ancing on  the  apex  of  a wavering  stalk,  or  flying  over  the  wheat  or  b}^  the 
sands  of  the  sea-beat  shore. 

Mr.  Frank  Rogers,  wlio  is  still  a very  young  man,  takes  especial  interest 
in  painting  dogs,  although  not  intending  to  confine  himself  to  that  branch 
of  animal  life,  and  has  alread^^  achieved  considerable  success  in  his  at- 
tempts to  represent  canine  traits.  lie  has  trained  several  dogs  to  pose  for 
him  for  ten  to  fifteen  minutes  at  once.  In  the  decided  ability  and  success 
already  shown  by  Mr.  Rogers  we  can  see  that  it  is  now  possible  for  our 
artists,  availing  themselves  of  influences  already  at  work  liere,  combined 
with  an  intense  love  of  nature  and  the  ideal,  to  do  strong  original  work 
wdthout  devoting  half  their  lives  to  foreign  study,'  and  thus  carry  on  to  a 
higher  stage  the  national  art  for  wdiich  so  many  clamor  unreasonably,  not 
considering  that  new  schools  of  art  are  not  born  in  a day,  nor  evolved 
without  the  conditions  which  have  invariably  prepared  tlie  way  for  the 
national  art  of  other  people.  Art  travels  by  no  royal  road. 

Our  continent  is  not  so  plentifully  stocked  with  wild  beasts  and  game 
as  some  parts  of  the  Old  World,  but  we  yet  have  the  panther  and  the  bi- 
son, although  now  fas't  fading  into  a mere  traditionary  existence  before  the 
rifle  of  the  pioneer.  R.  M.  Shurtleff  has  a pleasant  fancy  for  catamounts 
and  deer,  and  has  been  a careful  student  of  their  habits,  of  which  the 
results  appear  in  di’amatic  bits  of  the  wild  life  of  the  woods  inti’oduced 
into  effective  paintings  of  forest  scenery;  ‘G\.  Race  for  Life’'  is  the  title 
of  a weird,  savage,  and  powerful  composition  by  this  artist,  representing  a 
hock  of  ravening  wolves  pursuing  their  victim  over  fields  of  frozen  snow, 


182 


ART  IN  AMERICA. 


behind  wliieli  tlie  low  red  snii  is  setting;  and  A.  F.  Tait  lias  also  devoted 
his  life  to  rescuing  from  oblivion  species  which  are  rapidly  becoming  ex- 
tinct, unless  our  game-laws  are  better  enforced  than  they  have  been  hith- 
erto. There  is  often  too  finished  a touch  to  the  style  of  Mr.  Tait,  which 
depi'ives  it  of  the  force  it  might  otherwise  have;  but  he  has,  on  the  other 
hand,  painted  both  game  and  domestic  animals  with  remarkable  truth,  and 


“lost  in  the  snow.” — [a.  f.  TAIT.J 

ho  brings  to  the  subject  an  inventive  fancy  that  greatly  adds  to  the 
variety  and  interest  of  his  works.  We  might  add  in  this  connection  an 
allusion  to  the  ingenious  carvings  of  Alexander  Fo[>e,  a young  artist  who 
not  only  cuts  out  groups  of  game  from  a block  (>f  wood  with  much  clev- 
erness, but  also  truthfully  colors  tlie  grouse  and  teal  his  skilful  knife 
carves  out  of  pine. 

There  is  a branch  of  art  which  latterly  has  attracted  much  attention  in 


AMERICAN  PxUNTEKS. 


133 


this  country.  We  refer  to  still-life.  George  II.  Hall,  who  is  also  known 
as  a genre  paintei*,  justly  earned  a reputation  years  ago  for  effective  paint- 
ing of  fruit  and  liowers,  in  which  he  has  hitherto  had  few  equals  in  this 
country  : and  M.  J.  Ileade  has  devoted  his  attention  successfully  to  the 
rendering  of  the  wonderful  gorgeousness  of  tropical  vegetation.  The 
ideal  flower- painting  of  Mr.  Lafarge  we  have  already  mentioned.  Miss 
Hobhins,  of  Boston,  is  at  present  one  of  the  most  prominent  artists  we  have 
ill  this  de[)artment.  She  composes  with  great  taste,  and  lays  on  her  col- 
ors with  superb  effect.  Some  of  her  paintings  suggest  the  rich,  massive 
coloring  of  Van  Iluysams.  Messrs.  Seavey,  of  Boston,  AV ay,  of  Baltimore, 
and  Lambdin,  of  Philadelphia,  have  produced  some  interesting  results  in 
this  direction;  and  Miss  Dillon  and  Mrs.  Ilenshaw  must  be  credited  with 
some  v^ery  beautiful  floral  comjiositions.  The  list  of  ladies  who  have  been 
measurably  successful  in  realistic  flower-painting  is  very  large,  and  indi- 
cates the  strong  tendency  toward  decorative  art  in  the  country,  which 
must  result  ere  long  in  a distinctly  national  type  of  that  branch  of 
lesthetic  culture. 

In  arriving  at  the  close  of  the  second  period  of  American  painting,  we 
are  encouraged  by  abundant  evidences  of  a healthy  activity.  While  some 
phases  of  our  art,  after  a growth  of  half  a century,  are  passing  through  a 
transition  period,  and  new  methods  and  theories  are  grafting  themselves 
upon  the  old,  there  is  everywhere  apparent  a deeper  appreciation  of  the 
supreme  importance  of  the  ideal,  and  a gathering  of  forces  for  a new 
advance  against  the  strongholds  of  the  materialism  that  wars  against  the 
culture  of  the  ideal,  combined  with  a rapidly  spreading  consciousness  on 
the  part  of  the  people  of  the  ethical  importance  of  art,  and  a disposition 
to  co-operate  in  its  healthful  development.  At  the  same  time  new  in- 
fluences are  entering  into  the  national  culture  of  esthetics,  and  branches 
which  have  hitherto  received  little  attention  from  our  artists  are  coming 
rapidly  into  prominence,  suggesting  that  we  are  about  entering  upon  a 
third  stage  of  American  art. 

O 


134 


ART  IN  AMERICA. 


V. 


SCULPTURE  IN  AMERICA. 


T is  a generally  conceded  fact  that  since  the  death  of  Michael  Angelo 


the  ail  of  sculpture  has  made  little  progress  in  the  expression  of  the 
ideal.  It  has  rather  indicated,  nntil  recently,  a lack  of  steadiness  of  pur- 
pose, and  a want  of  freshness  and  intellectual  gi’asp  that  place  the  plas- 
tic art  of  the  last  three  centuries  in  a lower  rank  than  that  of  the  Classic 
and  the  Middle  Ages.  It  is,  therefore,  a matter  of  surprise  that  in  a people 
apparently  so  imideal  as  our  own,  and  engaged  in  struggling  to  win  for 
itself  a right  to  exist  among  the  wilds  of  a new  world,  that  we  find  that  so 
much  evidence  has  already  been  shown  of  an  appreciation  for  scnlptnin. 
It  is  true  that  we  have  not  yet  produced  any  masterpieces  that  can  rank 
with  those  of  anticpiity;  but,  on  the  other  hand,  some  of  our  plastic  art 
compares  favorably  with  the  best  that  has  been  created  in  modern  times. 

But  wliat  might  have  been  expected  under  the  circumstances  has 
proved  to  be  the  case.  Originality  has  been  the  exception  and  not  the 
rule,  even  with  our  best  sculptors.  Xatnrally  led  to  study  the  antique 
in  Europe,  and  also  to  master  there  the  technical  elements  of  the  art  of 
scnlptnre,  owing  to  the  entire  absence  of  facilities  for  art  education  here, 
it  was  only  to  be  expected  that  they  would  at  first  yield  to  the  art  influ- 
ences whose  guidance  they  sought.  It  was  not  their  fault  tliat,  nntil  re- 
cently, those  influences  were  conventional,  and  based  upon  a false  percep- 
tion of  the  principles  of  art. 

Some  of  our  most  successful  sculptors  have  never  been  abroad,  or  at 
least  have  not  sj^stematically  placed  themselves  under  the  tuition  of  a for- 
eign master;  while  a number  of  them  have  indicated  in  their  tendencies  a 
natural  sympathy  with  the  later  movement  of  modern  sculpture,  ’which  is 
I’ather  in  the  direction  of  allegory,  portraiture,  and  genre  suggested  by  do- 
mestic life.  AVhen  the  ancients  represented  Yenus  or  Jove  in  marble, 
they  sculptured  a being  in  whose  actual  existence  they  believed,  and  thus 
a profound  reverence  inspired  the  work  of  the  master.  When  the  sculptor 


SCULPTURE  IN  AMERICA. 


135 


of  the  Middle  x\ges  carved  the  deeds  of  the  Saviour,  or  tlie  saints,  or  repre- 
sented the  Last  Judgment,  he  was  moved  by  deep  love  or  reverential  awe, 
and  an  unquestioning  belief  in  the  events  he  was  commemorating.  But 
when  the  sculptor  of  this  century  undertakes  to  revive  classical  subjects 
and  modes  of  tliought,  he  encoun- 
ters an  insurmountable  obstacle  at 
the  outset,  which  checks  all  progress, 
and  relegates  his  ai*t  to  a secondary 
rank,  without  even  the  benefit  of  a 
doubt  in  his  favor.  The  laws  and 
limitations  of  mind  make  it  impossi- 
ble for  an  art  to  be  of  the  first  order 
which  depends  upon  the  imitation 
of  other  art.  It  is  only  by  copying 
nature  directly,  under  the  inspira- 
tions of  its  own  age  and  countiw, 
that  a school  of  art  has  the  slight- 
est chance  of  immortality.  Thor- 
waldsen,  the  greatest  sculptor  since 
Michael  Angelo,  exemplified  this 
truth  to  a remarkable  degree. 

Moved  by  a realization  of  classic 
art  which  no  other  modern  sculptor 
except  Flaxman  has  approached, 
we  yet  find  his  classical  subjects 
inferior  to  those  allegorical  subjects 
in  which  he  gave  expression  to  the 
impulses  of  his  own  times.  A slow- 
ly dawning  consciousness  that  art 
cannot  by  any  force  of  will  or  free 
agency  escape  from  tliese  liinita- 

“eye  before  the  fall.” — [hikam  powers.] 

tions  of  growtli  is  becoming  at  last 

evident  in  recent  sculpture,  esj^ecially  in  the  emotional  and  sometimes 
sensational  sculpture  of  France.  Lacking  repose,  it  is  yet  fresh  and  orig- 
inal, and  is  destined  by  continued  self-assertion  to  reach  a high  mnk. 

It  is  in  imitations  of  the  antique  or  in  allegory,  and  portraiture,  that 
our  sculpture  has  exerted  its  best  efforts,  until  within  a few  years.  Gen- 


136 


AKT  IN  AMERICA. 


eral  Washington  has  also  proved  a sort  of  Jupiter  Tonans  to  our  sculptors. 
Elevated  to  a semi-apotheosis  bj  the  people,  he  has  hitherto  been  the  most 
prominent  subject  of  the  plastic  art  of  the  West,  and  has  thus  afforded  a 
fair  standard  of  comparison  between  the  inerits  of  different  artists,  since 
very  few  of  them  but  have  tried  their  liand  with  the  national  hero.  As 
regards  popular  appreciation  or  pecuniary  reward,  it  must  be  admitted 
that  our  sculptors  have  relatively  little  cause  fur  complaint. 

The  art  of  sculpture  was  by  no  means  unknown  here  when  the  white 
man  first  stepped  foot  on  our  shores.  The  pipe-stone  cpiarries  of  the  West 
are  an  evidence  of  what  had  already  been  attempted  by  the  aboriginal 
savages.  Tobacco,  so  much  maligned  by  certain  zealous  philanthropists, 
was  at  least  an  innocent  cause  of  some  of  tlie  earliest  attempts  at  sculpture 
made  on  this  continent.  The  writer  has  in  his  possession  an  Indian  pipe 
carved  out  of  flint,  which  represents  a man  sitting  with  hands  clasped 
across  his  knees.  Simple  as  it  is,  it  indicates  good  skill  in  stone-carving, 
and  considerable  observation  of  race  characteristics  and  anatomy.  Evi- 
dences of  great  technical  skill  in  the  plastic  arts,  but  with  an  imformed 
perception  of  beauty,  are  being  constantly  discovered  among  the  relics  of 
the  extinct  Mound-builders  of  the  West  and  South. 

Eefore  the  He  volution,  however,  excepting  in  the  carving  of  figure- 
heads, plastic  art,  unlike  painting,  seems  to  have  been  hardly  known  in 
the  United  States.  And  so  little  sio^n  was  there  of  its  dawn  that  John 
Trumbull  declared  to  Frazee,  as  late  as  1S16,  that  sculpture  “would  not  be 
wanted  liere  for  a century.”  But  even  then  the  careful  observer  might 
have  noticed  indications  that  a genius  for  glyptic  art  was  awakening  in 
the  new  republic.  In  the  early  part  of  the  last  century  Deacon  Drowne 
made  a vane  for  Faneuil  Hall,  and  one  for  the  Province  House,  in  Boston, 
which  appear  to  have  gained  him  great  repute  in  his  day  in  Hew  Eng- 
land. The  latter  work,  although  turning  with  the  wind  on  an  iron  spin- 
dle, was  a life-size  statue  of  an  Indian  sachem  holding  a bow  and  arrow  in 
the  act  of  aiming.  It  was  hollow,  and  of  copper,  and  would  seem,  from  the 
impression  it  made,  to  have  been  a work  of  some  merit.  Somewhat  later. 
Patience  Wright,  of  Bordentown,  New^  Jersey,  displayed  considerable  clev- 
erness in  modelling  miniature  wax  heads  in  relief,  and  by  this  process  suc- 
ceeded in  making  likenesses  of  Washington  and  Franklin,  among  the  ce- 
lebrities of  her  time.  William  Bush,  who  was  born  some  twenty  years 
before  the  Be  volution,  had  also  shown  already  that  even  in  ship-carving 


SCULPTURE  IN  AMERICA. 


137 


the  sculptor  may  find  scope  for  fancy  and  skill,  as  Matthew  Pratt,  in  the 
previous  generation,  had  proved  that  even  in  the  painting  of  signs  genius 
can  find  vent  for  its  inspirations.  Pnsli  was  undoubtedly  a man  of  gen- 
ius; for,  although  all  the  art  education  he  ever  had  was  confined  to  an 
apprenticeship  with  a ship-carver,  his  figure-heads  of  Indians  or  naval  he- 
roes added  a singular  merit  to  the  beauty  of  the  merchant  marine  which 


“ ORPUEUS.” — [THOMAS  CRAWEOKD.J 


first  carried  our  flag  to  the  farthest  seas,  and  the  men-of-war  that  wrested 
victory  in  so  many  a hard-fought  battle.  Push  worked  only  in  wood  or 
clay;  but  original  strength  and  talent,  which  under  better  circumstances 
might  have  achieved  greater  results,  are  evident  in  some  of  his  portrait 
busts,  and  in  a statue  of  a nymph  at  Fairmount.  A bust  of  himself, 
carved  out  of  a block  of  pine,  is  remarkable  for  a realistic  force  and 


138 


ART  IN  AMERICA. 


character  that  entitle  it  to  a permanent  place  in  the  records  of  American 
sculpture. 

Sculpture,  however,  was  much  more  backward  in  gaining  a foothold 
in  tlie  country  than  the  sister  arts;  for  it  was  not  until  1821:  that  the  lirst 
portrait  in  marble  by  a native  was  executed — that  of  John  Wells,  by  John 
Frazee,  a stone-cutter,  whose  sole  art  education  was  obtained  during  an 
apprenticeship  in  a yard  where  rude  monumental  work  was  turned  out  for 
the  bleak  cemeteries  in  use  before  such  sumptuous  retreats  as  Greenwood 
and  Mount  Auburn  were  planned.  Thei'e  was  a feeling  after  the  ideal  in 
the  nature  of  this  unassisted  artist  which  enabled  him  to  be  potential  in 
influencing  younger  artists;  while  his  opportunities  were  unfavorable  to 
the  just  development  of  his  own  abilities. 

Fusil  began  to  model  in  clay  in  1789,  and  at  that  time  not  one  of  the 
artists  who  have  since  given  celebrity  to  our  native  sculpture  had  seen  the 
light.  Frazee  was  born  in  1700;  and  Ilezekiah  Augur,  of  New  Haven,  in 
1791.  The  latter  was  engaged  in  the  grocery  trade,  and  failing  in  that, 
took  up  modelling  and  wood-carving,  without  any  guide  except  his  natural 
instincts.  Like  many  of  our  first  sculptors,  his  efforts  are  interesting  rather 
as  evidences  of  what  talent  ejitirely  uninstructed  and  untrained  can  accom- 
plish, than  for  any  intrinsic  value  in  his  work.  Many  of  the  artists  who 
have  succeeded  him  have  also  begun  life  in  some  trade  or  profession  alto- 
gether at  variance  Avith  the  art  to  which  they  afterward  consecrated  their 
lives. 

It  was  not  till  the  year  1805,  long  after  Copley,  West,  Malbone,Allston, 
and  Stuart  had  demonstrated  our  capacity  for  pictorial  art,  that  the  genius 
of  the  country  seemed  inclined  to  allow  us  a plastic  art  of  our  own.  In 
that  year  Hiram  Powers  was  born,  one  of  the  best  known  sculptors  of  the 
century.  The  same  3^ear  witnessed  the  birth  of  Horatio  Greenough.  In 
the  remote  Avilds  of  Iventuck}",  still  harried  by  the  Indiaiis,  Hart  Avas  born 
in  1810;  and  Clevenger,  Crawford,  and  Mills  folloAved  in  1812,1813,  and 
1815 — all  artists  of  note,  even  if  of  unequal  merits,  and  important  as  pio- 
neers in  the  art  rather  than  the  creators  of  a great  school  of  sculpture. 
Thus  Ave  see  that  Avithout  anj^  apparent  previous  preparation  a strong  im- 
pulse toward  glyptic  art  and  the  men  to  direct  and  give  it  strength  simul- 
taneously sprung  up  in  the  land.  When  one  considers  the  disadvantages 
under  which  they  labored,  and  that,  so  far  as  can  be  knoAvn,  the}'  Avere  not 
even  aided  by  any  heredity  of  genius  in  this  direction,  criticism  is  teui- 


SCULPTUEE  IN  AMERICA. 


139 


pcred  bj  surprise  tliat  tliey  achieved  the  results  they  did,  and  that  two  of 
them  at  least — Powers  and  Crawford  — succeeded  in  wiiiuiiig  for  tliem- 
seh'es  a European  renown  which  made  them  almost  tlie  peers  of  some  of 
the  leading  foreign  sculptors  of  the  age,  who  were  born  amidst  the  trophies 
of  classic  and  Eenaissaiice  art. 


Hiram  Powers  must  alwa3^s  be  assigned  a commanding  position  in 
our  Western  art,  even  by  those  who  are  not  enthusiastic  admirers  of  his 
works.  A farmer’s  boy  of  the  Green  Mountains,  he  early  exchanged  Yer- 
mont  for  the  bustling  streets  of  Cincinnati,  where  an  ampler  scope  was 
offered  to  the  aspiring  energies  of  the  founder  of  American  sculpture. 
Like  many  of  onr  sculptors,  a turn  for  mechanics,  characteristic  of  the  in- 
ventive mind  of  the  people,  was  combined  in  him  with  a capacity  for  art, 
and  this,  which  at  first  found  vent  in  a stud\^  of  the  inventions  of  the 


140 


ART  IX  AMEKICxL 


time,  enabled  lilm  in  matnrer  life  to  facilitate  the  means  of  art  expression 
by  valuable  inventions.  Palmer  and  several  other  American  sculptors 
have  also  aided  the  art  in  a similar  way.  Fronf  modelling  in  wax,  which 
ai’oused  great  local  interest,  young  Powers  proceeded  to  modelling  in  plas- 
ter, under  the  tuition  of  a German  artist  resident  in  Cincinnati,  and,  aided 
by  the  generous  patronage  of  Mr.  Longworth— to  whose  liberality  toward 
onr  artists  American  art  is  greatly  indebted — he  soon  received  numerous 
commissions  for  portrait  busts  of  some  of  our  most  notable  public  men, 
such  as  Webster,  Jackson,  Marshall,  and  Calhoun.  Notwithstanding  his 
lack  of  training  and  art  associations.  Powers  executed  some  of  these  por- 
traits with  a vigor  worthy  of  the  subjects,  and  scarcely  equalled  by  any  of 
his  subsequent  work. 

In  1837  Powers  decided  to  go  to  Italy,  whither  Greenough  had  already 
jweceded  him,  led  thither,  like  many  since,  by  superior  art  advantages  and 
economical  reasons,  which  still  sway  our  sculptors  at  a time  when  it  would 
seem  that  it  would  be  more  profitable,  so  fai*  as  native  art  is  concerned, 
for  them  to  remain  here.  Several  of  our  sculptors  have  acknowledged 
to  the  writer  that  the  time  has  come  for  their  art  to  grow  up  under  the 
home  intluences  which  are  to  regulate  the  art  of  the  future,  but  that  the 
question  of  economy  forces  them  to  live  in  Florence  and  Rome. 

Residing  in  Florence  until  his  deatli,  Powers  devoted  his  long  career 
to  the  creation  of  many  works  of  liigh  finisli,  and  occasionally  of  a merit 
comparing  well  with  the  works  of  an  ago  whose  plastic  arts  wei’e  conven- 
tional. Who  has  not  seen  the  famous  ‘‘Greek  Slave,”  inspired  by  the 
enthusiasm  for  the  Greeks  struggling  with  the  Turk  for  existence?  The 
“ Penseroso,”  “Fisher  Roy,”  and  “Proserpine”  are  also  among  the  most 
pleasing  works  of  this  artist.  The  “ California,”  a nude,  symbolical  female 
figure,  is  less  satisfactory  in  conception,  and  is  also  open  to  criticism  as  to 
its  proportions.  In  these  works  we  see  expressed  the  thouglits  of  an  artist 
skilled  in  the  technical  requirements  of  the  art,  and  moved  by  a lofty 
ideal,  but  marked  by  tender  sentiment  rather  than  force,  and  suggesting 
sometimes  a dryness  of  style  and  a coldness  or  reticence  of  emotion  inher- 
ited from  the  undemonstrative  people  of  Now  England,  as  if  when  the 
artist  was  executing  them  tjie  stern  genius  of  Puritanism,  jealous  of  the 
voluptuous  or  the  passionate  in  art,  had  stood  Mentor-like  at  his  side  and 
said,  “There,  that  will  do;  beware  lest  your  love  of  beauty  lead  you  to 
forget  that  you  ai-e  an  American  citizen,  to  whom  duty,  principle,  exam- 


SCULPTURE  IN  AMERICA. 


U1 

pie,  are  the  watchwords  of  life.”  But  sometimes  genius  proved  superior 
to  tradition  even  with  Powers,  as  when  he  composed  the  two  great  ideal 
statues  of  Eve  before  and  after  the  fall.  By  these  noble  works,  inspired 


“the  ghost  in  hamlet.” — [thomas  r.  gould.] 


by  true,  untrammelled  artistic  feeling — which  we  must  consider  his  best 
ideal  compositions  — he  earned  a rank  very  near  to  that  of  Gibson  and 
Canova,  and  rendered  his  art  worthy  of  lasting  remembrance. 

The  art  of  Powers  was  best  exemplitied  in  his  portrait  busts.  Ifis 
imagination  was  not  pi’olific  or  active,  as  one  may  infer  from  the  following 
expressions  of  his  own  : “ I could  never  satisfy  myself  with  an  ideal  in  a 
hurry.  The  human  form  is  infinite.  It  is  the  image  of  God.  I have 
found  that,  do  my  best,  thei’e  was  always  a better  in  nature.  Once  know- 
ing this,  I have  hesitated  and  sought  to  find  it,  and  this  is  the  way  to  fame. 


142 


ART  IN  AMERICA. 


One  may  fail  with  all  his  care  and  labor,  but  it  is  the  only  wajc  Xot  they 
who  have  produced  the  most,  but  they  who  have  done  the  best,  stand  fore- 
most ill  tlie  end.  I never  felt  that  I had  the  power  to  charge  a hundred 
statues.  I exhaust  myself  on  a few.  This  accounts  for  the  fact  that  I 
found  it  necessary  to  give  nearly  a year’s  time,  in  all,  to  the  model  of  your 
statue  of  ‘Paradise  Lost.’” 

The  early  educational  advantages  of  Horatio  Greenough  were  superior 
to  those  of  Powers;  and  as  one  of  the  iirst  in  our  country  to  assert  himself 
in  marble,  he  won  a name  which  we  are  reluctantly  obliged  to  consider  in 
excess  of  his  merits  as  an  artist.  He  impresses  one  as  a man  of  intellect- 
ual force  and  culture,  but  without  any  special  calling  to  sculpture.  The 
work  by  which  he  will  be  known  the  longest  is  the  Bunker  Hill  Monu- 
ment, whose  stately  proportions  he  designed.  Gi’eenough  executed  a num- 
ber of  vigorous  and  striking  busts,  like  those  of  Lafayette  and  Penimore 
Cooper,  which  deserve  favorable  mention.  But  in  venturing  after  ideal 
expression  he  cannot  be  said  to  have  accom[)lished  satisfactory  results. 
The  elaborate  group  called  “ The  Bescue,”  on  the  portico  of  the  Capitol 
at  AVashington,  is  ambitious,  but  leaves  one  to  regret  that  so  prominent  a 
position  could  not  have  been  more  appropriately  decorated. 

Few  statues  have  ever  given  rise  to  more  conflicting  criticisms  than 
Greenougli’s  “Washington”  in  the  grounds  of  the  Capitol.  Colossal  in 
size  and  on  a massive  throne,  seated  half  nude  and  holding  out  a Roman 
sword  in  his  left  hand,  some  one  has  jocularly  observed  that  the  august 
hero  of  the  republic  seems  to  say,  “ Here  is  my  sword;  my  clothes  are  in 
the  Patent-office  yonder.”  It  certainly  seems  an  absurdity  in  this  age  to 
represent  so  recent  a character  in  a garb  in  which  he  was  so  rarely  seen 
by  the  public,  or  so  closely  and  incongruously  to  imitate  the  style  of  the 
antique.  Benjamin  West  showed  more  originality  and  courage  when,  in 
the  last  century,  and  in  defiance  of  the  opinion  of  such  men  as  Sir  Joshua 
Reynolds,  he  dared  to  break  loose  from  the  conventional,  and  created  a 
i-evolution  in  historical  art  by  permitting  General  Wolfe  to  die  in  the 
clothes  in  which  he  went  to  battle.  But  in  justice  to  Greenough,  whose 
statue  is  in  some  respects  meritorious  and  important,  especially  in  the 
bass-reliefs  on  the  elegant  chair,  it  should  be  said  that  he  never  designed 
to  have  this  statue  j)laced  in  its  present  position,  but  under  the  dome  of 
the  Rotunda,  wdiere  it  would  undoubtedly  be  far  more  impressive,  and  be- 
ing sheltered  from  the  winter  snows,  its  nudity  would  be  less  incongruous. 


(iEOUGK  -SVASllINGTOX. — [.I.  Q.  A.  WARD.] 


SCULPTURE  IN  AMERICA. 


145 


Last  3’ear  a sculptor  died  at  Llorence  wlio  was  born  in  Kentucky 
neaily  seventy  years  ago.  liis  education  was  confined  to  three  months  in 
a district  school,  and  his  first  occupation  w^as  chimney-building.  James 
Hart,  altliough  successful  in  portraiture,  was  also  an  idealist,  who,  after 
settling  in  Italy,  produced  numerous  pleasing  works,  like  his  “Angelina” 
and  “Woman  Triumphant.”  There  is  a delicate,  winning  sense  of  beauty^ 
and  a refined  emotional  tendency  in  liis  art,  which  pleases  while  it  fails  to 
master  us,  because  it  was  a facile  fancy  rather  than  a lofty  imagination 
that  conceived  his  creations. 

Shobal  Y.  Clevenger,  a stone-cutter  of  Ohio,  presents  another  instance 
of  the  sudden  yearning  towai'd  the  plastic  art  which  early  in  the  centmy 
sought  vent  in  various  parts  of  the  country.  Like  so  many  others,  he 
turned  his  face  to  Italj^  to  find  the  knowledge  which  it  was  impossible  for 
his  native  land  to  give  him  at  that  time.  Tlie  nation  owes  a debt  of 
gratitude  to  him,  as  to  several  of  our  early  sculptors,  for  many  truthfully 
realistic  portraits  of  our  leading  statesmen  and  poets. 

In  point  of  date  as  well  as  in  ability  we  find  that  Thomas  Crawford,  a 
native  of  New  York  State,  was  one  of  the  first  of  our  sculptors.  If  Pow- 
ers w’as  remarkal)le  for  the  refinement  of  his  work,  in  the  sculpture  of 
Crawford  we  find  a certain  grandiose  style  not  too  common  in  our  art, 
and  at  the  same  time  so  harmoniously  rendei’ed  as  to  avoid  exaggeration. 
Crawford  occupies  among  our  sculptors  a position  corresponding  to  that  of 
Allston  among  our  early  painters.  There  is  a classic  majesty  about  his 
works,  a sustained  grandeur  that  is  warmed  by  a sympathetic  nature,  and 
brought  w'ithin  the  range  of  the  throes  and  aspirations  of  this  tumultuous 
century.  He  had  what  most  of  our  sculptors  have  lacked — genius.  Were 
he  alive  to-day,  when  a new  order  of  sculpture  is  bursting  its  bonds,  he 
would  have  few  peers.  Among  his  most  important  works  are  the  impres- 
sive equestrian  statue  of  Washington  at  Kichmond,  and  the  colossal  statue 
of  Beethoven  in  the  Music  Hall  at  Boston.  They  were  cast  in  the  foun- 
dries of  Miiller  at  Munich,  and  were  hailed  by  all,  artists  and  sovereign 
alike,  with  a dramatic  enthusiasm  which  speaks  eloquently  for  tlie  esti- 
mate placed  upon  them  in  one  of  the  most  notable  art  tribunals  of  Europe. 

The  bronze  door  of  the  Capitol  at  Washington,  containing  panel  groups 
illustrative  of  the  American  Bevolution,  has  been  considered  by  some  to 
be  a masteri)iece  of  Crawford,  and  it  certainly  indicates  imagination  and 
teclinical  skill  unusual  among  us  until  recently;  but  the  statue  of  Orpheus 

10 


Airr  IN  AMERICA. 


liG 

descending  into  Tartarus  in  searcli  of  liis  wife  Eiirydice  seems,  on  tlie 
whole,  to  be  the  most  symmetrical  and  just  representative  work  of  this 
great  sculptor.  Ills  stately  and  graceful  statiTe  of  Liberty”  on  the  dome 
of  the  Capitol  is  also  entitled  to  high  consideration,  but  one  can  hardly 
tliink  of  it  without  indignation,  for  certainly  nothing  was  ever  devised 

quite  so  absurd  as  to  create  a work 
of  imagination  like  this,  and  then 
to  percli  it  up  in  the  air  three  hun- 
dred  feet  above  the  ground,  whei-e 
it  is  a mere  shapeless  spot  against 
the  sky,  its  beauty  almost  as  com- 
})letely  snatched  away  from  human 
ken  as  if  it  were  buried  as  far  be- 
neath the  sill-face  of  the  earth. 

The  art  of  the  Capitol  at  Washing- 
ton presents,  indeed,  a most  extraor- 
dinary farrago  of  excellence  and  ec- 
centricity and  ignoi-ance.  Some  of 
the  alto-relievos  in  the  Rotunda  are 
of  such  exceptional  uncouth  ness 
that  one  is  astounded  to  think  that 
some  of  the  men  are  still  living 
who  pei’initted  tliem  to  be  placed 
there.  They  might  easily  be  pass- 
ed off  for  ]-ude  Aztec  relics.  The 
Sculpture  Hall  adjoining  displays 
the  same  amazing  incongruity.  Its 
existence  suggests  a dim  perception 
in  the  builders  that  at  some  future 
time  we  should  need  a national  gal- 
lery of  statuary;  while  the  inequal- 
ity in  the  merit  of  the  sculptures  already  placed  there  would  indicate 
that  they  had  been  chosen  entirely  by  lot  rather  than  by  deliberate 
selection.  Not  until  a pei-manent  national  art  commission  like  that  of 
France  is  appointed  can  we  hope,  in  the  present  unsesthetic  condition  of 
Congress,  to  have  such  art  collected  at  the  national  capital  as  will  be  en- 
tirely creditable  to  the  country.  Such  a commission,  owing  to  the  frailty 


“MEDEA.” [william  WETxMOKE  STORY.] 


“the  PUO.VILSEU  LAND.” — [fUANKLIN  SIMMONS. j 


SCULPTURE  IN  AMERICA. 


149 


of  human  nature,  miglit  peihaps  show  partiality  at  times  toward  a favorite 
school;  but  wliat  it  did  admit  would  at  least  be  of  a higher  average  merit, 
and  mere  tyros  in  art  would  have  no  chance  to  storm  the  public  Treasury 
by  the  sheer  force  of  lobbying. 

It  is  to  the  then  absolute  ignorance  of  art  on  the  part  of  the  people 
that  we  owe  the  ecpiestrian  statues  of  Clark  Mills  — a contemporary  of 
Crawford  — of  which  the  most  noted  is  probably  the  statue  of  General 
Jackson  opposite  tbe  White  House,  and  the  one  of  George  Washington, 
for  which  he  received  $50,000.  The  former  is  chiefly  notable  for  the 
mechanical  dexterity  which  so  balanced  the  weiglits  that  the  prancing 
steed  is  actually  able  to  stand  in  that  position  without  other  support  than 
its  own  ponderosity.  That  Mr.  Mills  has  ability  is  unquestioned,  for  it  is 
said  that  before  ever  he  had  seen  a statue  he  was  able  to  take  a portrait 
bust  of  Calhoun  which  is  pronounced  a striking  likeness;  but  it  is  dexter- 
ity and  talent  leather  than  genius  which  he  possesses.  There  is  little  evi- 
dence of  art  feeling  in  his  works,  and  the  prominence  that  has  been  given 
to  them  is  a just  cause  of  regret  to  the  lover  of  art. 

It  is  pleasant  among  so  much  poor  art  to  find  here  and  there  works 
like  those  of  Crawford,  Ward,  Brown,  Kandolph  Kogers,  and  Ball,  which 
indicate  an  earnest  striving  after  a lofty  art  ideal.  Ileniy  K.  Browne,  one 
of  our  earliest  sculptors,  will  probably  be  best  known  by  his  two  equestrian 
statues — of  General  Washington,  in  Union  Square,  New  York,  and  Gen- 
eral Scott,  at  the  capital.  It  is  extremely  difficult  to  tell  what  it  is  which 
makes  such  monuments  so  rarely  satisfactory.  If  the  horse  is  anatomi- 
cally correct,  it  is,  perhaps,  ungraceful ; or  if  pleasing  in  that  respect,  then 
the  horse-fancier  comes  along,  who  tells  you  that  it  cannot  be  justly  ad- 
mired, for  it  is  incoiTect  in  the  details.  Between  these  two  objections  one 
is  often  at  a loss  to  give  an  opinion;  and  in  point  of  fact  the  famous 
statue  of  Colleoni  by  Yerrochio,  made  in  the  Middle  Ages,  seems  thus  far 
to  be  almost  the  only  wholly  acceptable  equestrian  work  since  the  classic 
times,  so  thoroughly  does  it  seem  in  its  firm,  massive,  yet  energetic  lines  to 
embody  the  description  of  the  war-horse  given  in  the  Book  of  eTob,  and 
so  nobly  does  his  mailed  rider  bestride  him.  The  cause  of  the  difficulty 
a[)pears  to  be  the  same  as  in  marine  painting.  To  paint  a sliip  one  should 
love  it  intensely,  and  if  he  does,  he  is  likely  to  comprehend  the  action  ; to 
design  a horse  in  motion  one  should  love  horses,  and  in  such  case  the  study 
of  them  begins  instinctively  in  childhood.  But  most  sculptors  have  no 


150 


ART  IN  AMERICA. 


“latona  and  her  infants.” — [w.  ii.  rinehart.] 


natural  equine  bias,  and,  after  accepting  a commission  for  an  equestrian 
statue,  they  begin  to  study  tlie  liorse  for  the  purpose  of  information,  ratlier 
than  from  sympathetic,  enthusiastic  feeling. 

Ml*.  Browne  has  struggled  with  these  difficulties  with  very  creditable 
success.  Neither  of  the  statues  mentioned  above  gives  complete  satisfac- 
tion, blit  they  are  doubtless  among  the  best  yet  exhibited  in  our  country. 
That  of  Scott  represents  the  finest  hoi’se,  and  very  graceful  and  interesting 
it  is,  although  the  proportions  are  rather  those  of  an  Arab  steed  than  of 
an  American  war-horse;  while  that  of  Washington  is  the  most  spirited 
and  attractive.  It  is  heroic  and  impressive  in  its  general  effect.  This 
artist,  who  still  i-esides  at  Newburgh,  enjoying  a green  old  age  after  a suc- 
cessful career,  lias  accomplished  much  ideal  work,  like  the  pleasing  statue 
of  “ Buth,”  and  has  shown  a fine  artistic  feeling  in  his  conceptions,  al- 
though hardly  entitled  to  a foremost  rank  in  this  branch  of  tlie  art. 

Thomas  Ball,  who  was  originally  a portrait-painter,  and  who  continues 
to  adorn  our  public  squares  with  meritorious  sculptures,  is  another  artist  to 
whom  we  are  indebted  for  one  of  the  most  spii*ited  and  correct  equesti'ian 


SCULFTUKE  IN  AMERICA. 


151 


statues  in  the  country.  We  refer  to  his  Washington,”  in  the  Public 
Garden  in  Boston.  Pleasing  when  regarded  artistically,  cavalrymen  also 
like  it  for  its  trutli  to  nature.  The  group  called  “Emancipation,”  in  Lin- 
coln Park,  at  Washino-ton,  is  also  bv  Mr.  Ball. 

An  equestrian  statue  that  is  destined  to  occupy  a high  position  in  our 
native  art  is  that  of  General  Thomas,  by  J.  Q.  A.  Ward.  It  is  of  colossal 
size,  and  has  been  cast  in  bronze  at  Philadelphia.  There  is  a force  in  the 
action,  an  originality  in  the  pose,  a justness  in  the  proportions  of  both  horse 
and  rider,  that  render  it  exceptionally  excellent.  In  Mr.  AVard  we  see  one 
of  the  most  vigorous  and  individual  sculptors  of  the  age.  As  an  influence 
in  our  art  his  example  is  of  great  importance,  because  while  placing  at  its 
true  value  the  good  that  may  be  obtained  by  familiarity  with  the  models 
of  classic  art,  whetlier  by  the  study  of  casts  at  home  or  abroad,  he  recog- 
nizes the  basal  principle  of  all  true  art — tliat  its  originating  force  must 
proceed  from  within,  and  that  cultm*e  can  only  supplement,  but  cannot 
supply  the  want  of,  genius  in  the  artist  or  the  people.  And  thus,  while 
thoroughly  conversant  with  foreign  and  antique  art,  Mr.  AVard  has  worked 
at  home,  and  drawm  the  sources  of  his  inspii’ation  from  native  influences. 
He  has  a mind  overflowing  with  resources;  his  fancy  is  never  still;  he  is 
ever  delighting  to  sketch  in  clay,  if  the  term  may  be  so  used.  Many  are 
familiar  with  the  noble  statue  of  Shakspeare  and  the  “Indian  Hunter”  in 
the  Central  Park.  The  latter,  although  not  in  all  respects  anatomically 
correct,  is  in  spirit  and  design  one  of  the  most  notable  works  produced  by 
American  plastic  art.  But  the  bronze  statue  of  AA^ashington  recently  set 
up  at  Newburyport  is,  perhaps,  the  best  existing  specimen  of  Mr.  AVard’s 
skill.  The  subject  is  not  a new  one ; in  fact,  it  has  been  treated  so  many 
hundred  times  in  one  form  or  another  that  especial  originality  was  needed 
to  render  it  again  with  any  degree  of  freshness  and  interest.  But  the 
effort  has  been  crowned  with  success.  There  is  in  this  statue,  which  is  of 
colossal  size,  a sustained  majesty,  dignity,  and  repose,  and  a harmony  of 
design  rarely  attainedp'n  modern  sculpture. 

Among  the  foremost  of  American  sculptors  in  point  of  native  ability 
we  must  accord  a place  to  Benjamin  Paul  Akers,  of  Portland.  He  was 
indeed  a man  of  genius,  of  a finely  organized  temperament;  but  he  died 
before  the  maturity  of  his  powers,  ei'e  he  was  able  to  achieve  little  more 
than  a promise  of  irnmortality.  His  “Pearl  Diver,”  which  is  indeed  an 
exquisite  creation,  original,  and  tenderly  beautiful,  represents  a youth 


152 


ART  IN  AMERICA. 


wliose  corpse  the  tide  lias  washed  on  the  rocks,  where  it  lies  wi'apped  by 
the  sea-weed,  and  tranquil  in  the  repose  of  death.  The  anatomy  and  com- 
position of  this  work  are  evidently  the  offspringmf  a finely-organized  mind 
well  grounded  in  the  principles  of  his  art,  and  inspired  by  tender  sympa- 
thies and  a strongly  creative  imagination;  and  his  “St.  Elizabeth”  is  also 

a lovely  piece  of  sculpture.  The 
noble  ideal  bust  of  Milton,  and  tlie 
“ Pearl  Diver,”  are  grandly  de- 
scribed by  Hawthorne  in  the  “Mar- 
ble Faun.”  The  admirable  descrip- 
tion of  Kenyon,  the  young  sculptor 
mentioned  in  that  weird  I’omance, 
is  intended  for  a likeness  of  Akers. 

Edward  S.  Bartholomew,  of  Con- 
necticut, who  died  in  his  thirty-sixth 
year,  was  another  of  our  most  gifted 
scnlptoi’s.  There  was  an  affluence 
of  fancy  in  his  art,  i*are  in  our 
sculpture,  which  needed  pruning 
rather  than  urging  by  foreign  study. 
Naturally  his  works  are  unequal  in 
merit ; but  the  “ Eve  Kepentant,” 
“Ganymede,”  and  “Hagar  and  Ish- 
mael”  will  long  perpetuate  his  fame. 
It  is  a noteworthy  cii’cnmstance  that 
Bartholomew  was  totally  color-blind. 
This,  in  the  opinion  of  many,  is  no 
disqualification  in  a sculptor;  but 
some  sculptors  not  only  think  oth- 
erwise, but  are  also  conscious  of  a 
sense  of  color  when  ci’eating  a work. 
Italy,  which  has  been  the  home 
and  second  mother  to  most  of  the  artists  we  have  named,  has  long  given  a 
home  to  and  inspired  the  art  of  a number  of  our  most  prominent  sculptors, 
who  are  now  permanently  residing  in  Florence  and  Rome  — Randolph 
Rogers,  Stoiy,  Rinehart,  Meade,  Gould,  Thompson,  Miss  Ilosmer,  and  sev- 
eral others,  all  of  whom  merit  more  than  a passing  notice.  Rogers,  who 


“ ZENOBIA.” — [hAKRIKT  HOSMER.] 


SCULPTURE  IX  AMERICA. 


153 


lias  executed  many  exquisite  works  indicating  tine  sentiment  and  fancy,  is 
most  favorably  known  for  tlie  bronze  doors  in  the  Rotunda  of  the  Capitol 
at  Washington.  Eight  panels,  representing  scenes  in  the  history  of  Colum- 
bus, have  atfoi'ded  abundant  scope  for  tlie  exhibition  of  a genius  which, 
while  it  borrowed  the  idea  from  Ghiberti,  had  yet  ability  sufficient  to  give 
us  an  original  work.  The  ‘‘Angel  of  the  Resurrection,”  for  the  monument 
of  Colonel  Colt  at  Hartford,  is  also  an  important  and  beautiful  creation  by 
this  artist.  Larkin  J.  Meade,  of  Vermont,  has  justly  won  a wide  reputa- 
tion for  portrait  and  monumental  works,  like  that  to  Abraham  Lincoln  at 
Springfield,  Illinois.  It  is  of  colossal  dimensions,  costing  nearly  $300,000, 
and  in  size  and  importance  ranks  with  the  majestic  monument  at  Plymouth 


“evening.” — [e,  d.  palmer.] 


designed  by  Ilammatt  Billings.  One  of  the  noblest  art  opportunities  of 
the  century  was  offered  when  that  monument  was  pro})osed.  If  Mr.  Bil- 
lings’s original  design  had  been  fully  carried  out  a work  would  have  been 
erected  of  which  the  country  might  justly  be  proud.  Lack  of  funds  and 


154 


ART  IN  AMERICA. 


a pitiful  lack  of  euthiisiasm  resulted  in  reducing  tlie  dimensions  of  the 
work  l)j  half.  Martin  Milmore  has  also  executed  some  very  important 
civic  monuments,  and  has  turned  tlie  late  wa^  to  account  by  numerous 
military  memorials  erected  to  our  dead  heroes.  The  one  i*ecently  finished 
at  Boston  is  the  most  noteworthy.  The  art  represented  in  these  woiks 
is,  however,  not  of  a high  order,  perhaps  because  such  subjects  are  so  trite 
that  even  an  artist  of  very  unusual  ability  would  be  staggered  in  treating 
them.  Franklin  Simmons,  whose  abilities  have  been  chiefly  devoted  to  a 
similar  class  of  works  with  those  of  Meade  and  Milmore,  often  exhibits 
true  art  feeling,  and  a sense  of  the  beautiful  that  makes  his  art  exception- 
ally attractive.  The  monument  to  the  Army  and  Aavy,  at  Washington, 
which  he  has  designed,  is  not  wholly  satisfactory,  but  it  contains  some 
effective  points.  One  of  his  best  works  is  the  statue  of  Boger  Williams. 
Another  Americo-Florentine  artist  who  has  created  some  remarkable  and 
beautiful  ideal  works  is  Thomas  B.  Gould.  Among  these  may  be  men- 
tioned “The  Ascending  Spirit,”  at  Mount  Auburn,  “ The  Ghost  in  Ilam- 
let^^  and  “ The  West  AVind.”  The  latter  is  fascinating  rather  for  the  deli- 
cate fancy  it  shows  than  for  technic  knowledge,  foi*  it  is  open  to  criticism 
in  the  details;  the  drapery,  for  example,  is  so  full  as  to  di‘a\v  away  the 
attention  from  the  figure.  This  is  a blemish  quite  too  common  even  in 
our  best  sculpture.  Mr.  Gould  has  also  been  very  successful  in  portraiture, 
and  is  now  engaged  on  a full-sized  statue  of  Ivamehameha,  late  King  of 
the  Sandwich  Islands.  In  the  ideals  of  this  artist  w^e  notice  a powerful 
oi‘iginality,  and  an  attempt  to  render  in  marble  effects  usually  left  to  the 
higher  orders  of  pictorial  art.  Allegory  he  treats  with  marked  power,  and 
such  ideal  conceptions  as  the  heads  of  Christ  and  of  Satan  suggest  possi- 
bilities scarcely  yet  touched  hy  sculpture. 

Another  of  our  sculptors,  working  near  the  quarries  whence  comes  the 
marble  into  wdiich  he  stamps  immortality,  was  AY.  II.  Binehart,  of  Balti- 
more, one  of  the  truest  idealists  whom  this  country  has  produced.  Crit- 
icism is  almost  disarmed  as  one  gazes  at  his  “Sleeping  Babes,”  or  the 
tender  grace  of  “ Latona  and  her  Infants.” 

In  all  these  artists  we  find  more  or  less  dexterity  of  execution  and 
delicacy  of  sentiment,  but  are  rarely  impressed  by  a sense  that  any  of 
them  indicate  great  reserve  force.  In  AYilliam  AY.  Story  this  idea  is  more 
clearly  conveyed.  Ko  American  in  the  art  world  now  occupies  a more 
prominent  position  or  shows  greater  versatility.  Possessed  of  an  ample 


SCULPTURE  IN  AMERICA. 


155 


fortune,  and  originally  a lawyer,  and  preparing  legal  tomes,  he  then  de- 
voted himself  to  poetry,  the  drama,  and  general  literature,  and  has  succeed- 
ed as  a sculptor  to  a degree  which  has  caused  a leading  London  journal  to 
call  him  the  first  sculptor  of  the  Anglo-Saxon  race  since  the  death  of  Gib- 
son. He  certainly  occupies  a commanding  place,  fairly  won,  among  the 


RUST  OF  WILLIAM  PAGE.  — [ WILLIAM  R.  o’dONOVAX.] 


prominent  men  of  the  age.  But  here  our  praise  must  be  qualified  ; for  it 
may  be  seriously  questioned  whether  we  are  not  dazzled  by  the  sum  of  his 
abilities  rather  than  by  any  exceptional  originality  and  daring  in  anything 
Story  has  done.  Of  his  sculpture  it  may  be  said  that  it  indicates  the 
work  of  a rich  and  highly  cultivated  mind  ; it  is  thoughtful,  thoroughly 
finished,  and  classically  severe.  But  it  commands  our  respect  rather  than 


156 


ART  m AMERICA. 


our  eiitlmsiasm.  There  is  in  it  nothing  inspirational.  It  is  talent,  not 
genius,  which  wronglit  those  carefully  executed  marbles — talent  of  a liigli 
order,  it  is  true.  “Jerusalem  Lamenting,”  “ Tlte  Sibyl,”  and  “Cleopatra” 
and  “ Medea,”  are  works  so  noble,  especially  the  first,  tliat  one  is  impatient 
with  himself  because  he  can  gaze  upon  them  so  unmoved.  The  “Salome” 
is,  perhaps,  the  most  perfect  work  of  this  sculi)tor,  who  might  have  done 
greater  things  if  he  had  not  depended  so  exclusively  upon  foreign  in- 
spiration. 

Miss  Ilosmer,  who  has  resided  in  Italy  ever  since  she  took  up  art,  has 
achieved  a fame  scarcely  less  than  that  of  Mr.  Stoiy.  This  has  doubtless 
been  owing  in  part  to  her  sex,  for  from  the  time  of  Sabina  Yon  Steinbach 
until  this  century  it  has  been  exceedingly  rare  to  see  a woman  modelling 
clay.  But  Miss  Ilosmer  has  a strong  personality,  and  if  her  creations  are 
not  always  thoroughly  snccessful  as  works  of  art,  they  bear  the  vigorous 
impress  of  individual  thought  and  imagination.  She  is  best  known  in 
such  versatile  works  as  “Puck,”  “The  Sleeping  Sentinel,”  “ The  Sleeping 
Faun,”  and  “Zenobia,”in  whose  majestic  proportions  the  artist  has  sought 
to  express  her  ideal  of  a woman  and  a queen.  Miss  Ilosmer  took  her  first 
lessons  in  sculpture  with  Peter  Stephenson,  an  artist  who  died  too  early  to 
achieve  a national  reputation,  although  not  too  soon  to  be  esteemed  by  his 
fellow  - artists  for  his  abilities.  lie  studied  awhile  at  Pome,  and  left  a 
number  of  portrait  busts,  and  a group  of  “ Una  and  the  Lion,”  which  indi- 
cate undoubted  talent.  Other  ladies  who  have  essayed  sculpture  with  suc- 
cess are  Miss  Stebbins,  the  biographer  of  Charlotte  Cushman,  and  Mrs. 
Freeman,  of  Philadelphia,  who  has  executed  some  beautiful  works.  Miss 
AVhitney,  who  studied  abroad  for  a time,  but  has  wisely  concluded  to  con- 
tinue her  work  in  this  country,  has  shown  a careful,  thoughtful  study  of 
the  figure,  and  is  moved  by  a lofty  idea  of  the  position  of  sculpture  among 
the  arts.  Among  her  more  important  works  is  an  impressive  statue  of 
“Pome,”  in  her  decadence,  mourning  over  her  past  glory;  a statue  of 
“Africa;”  and  one  of  Samuel  Adams,  in  the  Capitol  at  MAshington. 

There  are  other  American  sculptors  deserving  more  than  mere  allusion, 
like  Dexter,  Pichard  Greenough,  Barbee,  Yolk,  Edmonia  Lewis,  Yan  Wart, 
Ives,  Macdonald,  Kernys,  Ezekiel,  Calverly,  and  Ilaseltine,  who  in  portrait- 
ure or  the  ideal  have  won  a more  than  respectable  position;  but  our  space 
limits  us  to  a notice  of  several  artists  who,  like  Ward,  combine  great  nat- 
ural ability  with  traits  distinctively  American.  One  of  these  is  Erastus  D. 


SCULPTUKE  IN  AMERICA. 


157 


Palmer,  of  Albany,  who  has  won  transatlantic  fame  by  the  purity  and 
originality  of  his  art.  The  son  of  a farmer,  and  exercising  the  calling  of 
a carpenter  until  nearly  thirty.  Palmer  did  not  yield  to  the  artistic  yearn- 
ings of  his  nature  until  comparatively  late  in  life.  When  he  at  last  took 
np  the  pursuit  of  art,  it  was  in  his  own  town  that  he  studied  and  sought 
fame,  and  his  success  was  rapid  and  entirely  deserved.  Few  of  our  sculp- 
tors have  been  such  true  votaries  of  the  ideal,  few  have  been  able  better 


ABRAHAM  PIERSON. — [lAUNT  THOMPSON.] 


to  give  it  expression,  and  none  have  shown  a type  of  beauty  so  national, 
or  have  more  truly  interpreted  with  an  exquisite  poetic  sense  the  distinc- 
tive domestic  refinement  or  religious  thought  of  our  people.  It  is  beauty 
rather  than  power  tliat  we  see  expressed  in  the  works  of  this  true  poet — 


158 


ART  IN  AMERICA. 


moral  beauty  identified  with  a type  of  pli3’sieal  grace  wliolly  native.  It  is 
an  art  which  finds  immediate  response  here,  for  it  is  of  our  age  and  our 
land.  Among  the  notable  works  of  Palmer  are  his  “Indian  Captive,” 


“the  charity  patient.” — [john  Rogers.] 


“ Spring,”  “ The  White  Slave,”  and  “The  Angel  of  the  Sepulchre;”  but  we 
prefer  to  these  the  excpiisitelj  beautiful  bass-reliefs  in  which  he  has  em- 
bodied with  extreme  felicity  the  domestic  sentiments  or  the  yearnings 
and  aspirations  of  the  Christian  soul.  The  radical  fault  of  Palmer’s  art 
is  that  he  has  depended  more  on  his  fancy  than  upon  a direct  study  of 
nature  for  his  compositions.  The  natural  result  has  been  that  he  soon 
began  to  lapse  into  mannerism,  whicli  has  become  more  and  more  promi- 
nent in  his  later  works. 


SCULPTURE  IN  AMERICA. 


159 


Another  sculptor  of  great  ability  owes  his  first  iiisti’iictioii  in  the  plas- 
tic art  to  Palmer — Launt  Thompson.  lie  was  a poor  lad  who  early 
showed  art  instincts,  but  was  employed  in  the  office  of  Dr.  Armsby,  until 
Palmer  stated  one  day  that  he  was  in  search  of  an  assistant,  and  asked  Dr. 
Armsby  if  he  could  recommend  any 


one.  The  doctor  suggested  Thomp- 
son (who  was  in  the  room)  as  a youth 
Avho  had  a turn  that  way,  but  had 
been  unable  to  find  opportunity  to 
gratify  his  art  cravings.  Thus  began 
the  career  of  one  of  our  strongest 
portrait  sculptors.  In  the  modelling 
both  of  the  bust  and  the  full  figure, 
Thompson  has  been  equalled  by  very 
few  American  sculptors.  Among 
many  successful  works  may  be  men- 
tioned his  Napoleon,  Edwin  Booth, 
General  Sedgwick,  at  West  Point, 
and  President  Pierson,  at  Yale  Col- 
lege. It  is  a cause  for  just  regret 
that,  after  having  achieved  such  suc- 
cess at  home,  Thompson  should  have 
deemed  it  necessary  to  take  up  his 
residence  permanently  in  Italy. 

Another  artist  whose  work  is 
entirely  native  to  the  soil  is  John 
Pogers,  whose  numerous  statuette 
groups  in  clay  have  made  liim  more 
widely  known  in  the  country  than 
any  other  of  our  sculptors.  A na- 
tive of  Salem,  Massachusetts,  and 
for  awhile  engaged  hi  mechanical 


THE  WHIRLWIND.” [j.  S.  HARTLEY.] 


pui’suits,  this  artist  was  at  last  able 
to  turn  his  attention  do  plastic  art, 
and  went  to  Europe,  where  he  seems  to  have  gained  suggestions  from 
tlie  1‘ealistic  and  impressional  school  of  tlie  later  French  scul})tors;  but 
this  was  rather  as  a suggestion  than  an  influence,  and,  finding  his  mind 


IGO 


ART  IN  AMERICA, 


“adoration  of  the  cross 

BY  ANGELS.”  ST.  THOM- 
AS’S  CHURCH,  NEW  YORK. 
[ST.  GAUDENS.] 

more  in  sympathy  witli  hoiDe 
life,  he  soon  returned,  and  lias 
ever  since  worked  here,  and  from 
subjects  of  homely  every-day  genre 
around  him.  The  late  war  has  also  fur- 
nished Eogers  with  material  for  many 


SCULPTURE  IN  AMERICA. 


161 


interesting  groups.  The  art  of  Eogers  is  to  the  last  degree  unconven- 
tional, and  in  no  sense  appertains  to  what  is  called  high  art,  but  it  springs 
from  a nature  moved  bj  correct  impulses,  beating  in  unison  with  the  time, 
and  occupying  the  position  of  pioneer  in  the  art  of  the  future,  because  he 
has  been  true  to  himself  and  his  age. 

Daniel  C.  French,  a pupil  of  Ward  and  Ball,  is  a young  sculptor  who, 
like  Rogers,  finds  inspiration  for  his  ideals  in  his  native  land,  and  gives 
promise  of  holding  a prominent  position  in  the  field  of  American  sculpt- 
ure. He  made  a sudden  and  early  strike  for  fame  when,  with  scarce  any 
instruction,  lie  modelled  the  spirited  and  original,  although  anatomically 
imperfect,  statue  called  the  “ Minute  Man,”  which  is  at  Concord. 

Another  strong  representative  of  the  new  realistic  school  of  sculpture 
that  is  gradually  springing  up  in  the  community  is  W.  R.  O’Donovan,  of 
Richmond,  Virginia.  Fighting  sturdily  on  the  side  of  the  South  during 
the  late  war,  he  as  earnestly  gives  himself  now  to  the  pursuit  of  the  arts  of 
peace.  He  is  not  a rapid  worker,  but  handles  the  clay  with  thoughtful 
mastery,  and  the  results  are  stamped  with  the  freshness  and  individuality 
of  genius.  Mr.  O’Donovan’s  efforts  have  been  most  successful  in  portrait- 
ure, of  which  a striking  example  is  given  in  the  bronze  bust  of  Mr.  Page, 
the  artist.  Another  bust,  of  a young  boy,  is  as  full  of  naive  beauty  and 
refined  sentiment  and  character  as  this  is  vi2;orous  and  almost  startling’ 
in  its  grasp  of  individual  traits. 

The  transition  stage  through  which  our  plastic  art  is  passing  is  also 
indicated  by  the  stirring,  realistic,  and  sometimes  sensational  art  of  a num- 
ber of  earnest  and  original  young  sculptors  who  have  studied  abroad,  but 
have  wisely  concluded  to  return  home,  and  to  found,  and  grow  up  with,  a 
new  and  progressive  school  of  sculpture.  One  of  these  was  the  late  Frank 
Dengler,  of  Cincinnati,  who  had  studied  at  Munich,  and  was  professor  of 
sculpture  at  Boston  ; and  others  are  Olin  M.  Warner,  of  Rew  York,  and 
Howard  Roberts,  of  Philadelphia,  who  made  the  singularly  bold  statues  of 
“ Hypatia  ” and  Lot’s  Wife.”  To  these  may  be  added  J.  S.  Hartley,  wdio 
w^as  recently  Professor  of  Anatomy  at  the  Art  Students’  League,  and  is 
now  president  of  that  flourishing  institution.  He  began  his  career  in  Palm- 
er’s studio,  and  afterw’ard  studied  in  London  and  Paris.  The  art  of  these 
young  sculptors  is  still  immature  and  highly  emotional  or  lyrical,  and  often 
verges  on  the  picturesque  rather  tlian  the  severely  classic.  But  if  it  lacks 
repose,  on  the  other  hand  it  is  imaginative  and  pow^erful ; its  faults  are 

11 


162 


ART  IN  AMERICA. 


r 


o-n.  ^&rut 

~ tyteA/^  ct/j 

0\Lf  ^ .J’s 

O^UY  A«/A.v7i/1, 
l.rnM.  UM.  try  Moma,  M«-Truwj' 

4 . . / n / ' Jf  ^ 

A JyiMnrK  dfLO.  enr  €LuJ^  ^ «vrt-^fL^X  «Sm«| 

S terr^yi^Qruy>f^^i^  (rif 

Gy^  /'^JSL  jfjuSjBj  ^ 0LO.  0it  yC^6^iS»wOl^ 


i-y^TYx.  y~'^Xt  &-JtArerT-X: 

_1  ^ / ' 

He/v iL. ut^'nyi 

V^7~M~ey^  ^ ^ Ui.'^ty^wiaF 

{.,^...  1 l^y^uiAk  Yru^i  2. 

U <C_^/4«_da«/rS*_s6on~!.  ^^4^/ 

fn*^  ^c^C(A.^*vuvt^  yrx^y/^^  yi^  enr%jL 

k‘<Lr>r-e^^X'^G  tie  Xtydipro^  cXt -j'crr  IHS.Xa*J^  ^ ^ 

ci^XiKynyjYx,  erc^lAjuXx.  *Ar ysxu^/kj, 

t/n.  ^&xnr\S^  WCrV^  ^ f4^7ijtu/tt,s£a., 

^ eA^^aAMJ) 

7i<y»i  Ofvr.'l..  f74*s.  0.5. 

» 


THOMAS  Jefferson’s  idea  of  a monument. 


those  of  an  exuberant  fancy  tliat  teems  with  thought;  and  tliese  artists  are 
undoubtedly  the  forerunners,  if  not  the  creators,  of  a thoroughly  national 
school  of  sculpture.  Superior  in  technic  skill,  moved  by  a genius  thor- 


SCULPTURE  IN  AMERICA. 


163 


ouglily  trained  in  the  best  modern  school  of  plastic  art,  that  of  Paris,  St. 
Gandeiis,  a native  of  New  York,  has  given  ns,  in  the  exquisite  groups  called 
“ The  Adoi-ation  of  the  Cross  by  Angels,”  in  St.  Thomas's  Church,  Xew 
York,  one  of  the  most  important  and  beautiful  works  in  the  country.  The 
Astor  Peredos  behind  the  altar  at  Trinity  Cliurch,  designed  by  Mr.  Withers, 
and  partly  executed  here,  is  also  a very  rich  addition  to  our  plastic  art,  and 
is  another  sign  that  it  is  taking  a direction  little  followed  heretofore  on 
this  side  the  Atlantic.  Dr.  William  Pimmer,  who  has  recently  died,  pow- 
erful in  modelling,  a master  of  art  anatomy,  and  author  of  a valuable 
work  on  that  subject,  also  exerted  an  important  influence  in  directing 
■the  studies  of  our  rising  sculptors.  Having  little  sense  of  beauty,  he  un- 
derstood art  anatomy  profoundly,  and  modelled  with  energy  if  not  with 
grace.  His  statue  of  ‘^The  Gladiator”  aroused  astonishment  in  Paris; 
for  as  it  is  impossible  for  a living  man  to  keep  a falling  position  long 
enough  -for  a cast  to  be  taken,  this  masterly  composition  was  necessarily 
a creation  of  the  imagination  based  upon  exhaustive  knowledge  of  the 
figure. 

AYood  and  stone  carving  and  monumental  work,  and  the  decoration  of 
churches  and  civic  structures,  have  rarely  been  satisfactorily  attempted 
here  until  recently.  A curious  paper  and  design  left  by  Thomas  Jeffer- 
son, of  which  we  give  a reduced  fac-simile,  is  one  of  the  earliest  attempts 
at  original  monumental  art  in  the  United  States.  Ilei’e  and  there  one  of 
our  sculptoi’s  has  executed  some  good  woi’k  in  this  held,  but  costly  monu- 
ments have  too  often  been  erected  in  the  country  without  much  preten- 
sion to  art.  The  increasing  attention  given  to  wood  and  stone  carving,  as 
in  the  new  Miisic  Hall  at  Cincinnati,  the  State  Capitols  at  Albany  and 
Hartford,  and  in  some  of  our  later  churches,  is  a favorable  sign  that  a 
broader  held  is  opening  at  last  for  the  htting  utterance  of  the  rising  gen- 
ius of  sculpture;  while  the  numerous  schools  for  instniction  in  this  art 
that  have  been  founded  within  the  last  decade,  and  the  well-stored  galler- 
ies of  casts  of  the  masterpieces  of  antiquity,  are  increasing  the  facilities 
for  the  growth  of  a lioihe  art.  Enough  has  been  said  in  this  brief  sketch 
to  show  that  sculpture,  if  one  of  the  latest  of  the  arts  to  demand  expression 
in  the  United  States,  has  yet  found  a congenial  soil  in  the  Yew  World. 


16i 


ART  IN  AxMERICA. 


VI. 

FEESENT  TENDENCIES  OF  AMERICAN  ART 

A T the  close  of  the  fourth  chapter  of  this  volume  it  was  briefly  stated 
that  new  influences  and  forms  of  art  expression  have  recently  be- 
come prominent  in  our  art,  and  are  rapidly  asserting  their  growing  im- 
portance. With  perhaps  one  or  two  exceptions,  these  new  influences  so 
gradually  shade  out  of  our  former  art  that  it  is  difllcult  to  tell  the  exact 
moment  when  they  assume  an  individuality  of  their  own,  and  appear  as 
new  and  distinct  factors  in  the  aesthetic  culture  of  our  people. 

It  is  only  when  we  take  a I’etrospect  of  the  whole  field,  and  compare 
one  generation  with  another,  that  we  discern  the  vanishing  point  of  one 
set  of  influences  and  the  genesis  of  new  schools,  with  the  introduction  of 
new  branches  of  art  culture  in  the  community.  Considering  the  progress 
of  American  art  from  this  point  of  view,  we  find  it  divided  most  decid- 
edly into  periods,  advancing  with  regular  pace  from  one  phase  to  another 
like  the  tints  of  a rainbow,  shading  off  at  the  edges,  but  gradually  becom- 
ing more  intense.  Thus  we  are  able  to  trace  in  geometrical  ratio  the 
progress  from  primitive  silhouettes  and  rude  carvings  up  to  the  present 
comparatively  advanced  condition  of  the  arts  in  this  country. 

And  yet  a closer  inspection  into  the  history  of  American  art  enables 
us  to  detect  in  its  growth  the  same  rapid  spasmodic  action,  when  once  a 
start  is  made  in  a certain  direction,  as  in  other  traits  of  our  national 
development.  There  is  a tropical  vivacity  in  the  manner  in  which  with 
ns  bloom  and  fruition  suddenly  burst  forth  after  a period  of  apparently 
unpromising  barrenness.  Thus  West  and  Copley  appeared  almost  full- 
fledged  in  art  genius  and  capacity  to  adapt  themselves  to  occupy  promi- 
nent positions  in  Europe,  and  yet  there  were  but  few  premonitory  signs 
to  indicate  that  the  country  was  prepared  for  the  advent  of  such  artists. 

Until  recently,  also,  owing  to  some  cause  yet  unsolved,  we  have  not 


PKESENT  TENDENCIES  OF  AMERICAN  ART. 


167 


seemed  able  to  develop  more  than  one  or  two  forms  of  art  at  once.  At 
one  period  it  was  historic  painting  and  portraiture ; then  portraiture,  in- 
cluding for  a tiine  very  marked  success  in  miniature  painting,  headed  by 
Fraser  and  Malbone,  and  continued  by  such  able  artists  as  T.  S.  Cum- 
mings, J.  II.  Brown,  Miss  Goodrich,  and  Mrs.  Hall;  then,  all  at  once, 
landscape-painting  made  its  appearance,  and  almost  at  a bound  reached  a 
good  degree  of  merit.  Hand  in  hand  witli  landscape  art  came  remarka- 
ble facility  in  line  engraving.  IIow  rapidly  excellence  in  this  art  was 
achieved  in  this  country  may  be  judged  from  the  fact  that  in  1788  the 
editor  of  the  American  Magazine  said  apologetically,  in  presenting  an 
incredibly  rude  plate  of  a dredging-machine  in  the  magazine, The  editor 
has  given  the  plate  of  the  new  machine  for  clearing  docks,  etc.,  because 
he  had  promised  it.  The  want  of  elegant  plates  in  a work  of  this  kind  is 
extremely  regretted,  and  wil],  if  possible,  be  supplied.  If  it  cannot,  the 
editor  flattei’s  himself  that  the  infancy  of  the  arts  in  America  will  be  ac- 
cepted as  an  apology  for  the  defect.”  And  yet  not  twenty  years  from  that 
time  Peter  Maverick  was  doing  good  steel-engraving  in  Hew  York;  and 
scarce  ten  years  later  Dui-and  was  executing  the  masterly  engravings  of 
Trumbull’s  “Declaration  of  Independence”  and  Vanderlyn’s  “Ariadne.” 
And  from  that  time  until  recently  engravers  like  James  Smillie,  senioi’, 
A.  II.  Pitchie,  and  John  Marshall  have  carried  this  art  to  a high  degree 
of  excellence;  while  John  Sartain  has  attained  celebrity  in  mezzotint. 

Strange  as  it  may  seem,  while  porti’aiture,  landscape,  and  steel  engrav- 
ing were  pursued  with  such  success  by  our  artists,  a feeling  for  the  other 
arts  could  hardly  be  said  to  exist.  A sympathy  with  form,  generally  the 
earliest  art  instinct  to  show  itself,  was  long  in  awakening,  as  proved  by  tlie 
tardiness  of  the  plastic  arts  to  demand  expression  among  us;  while  to  the 
resources  of  black  and  white,  or  camieu^  or  a perception  of  the  matchless 
mystery  and  suggestiveness  of  chiaro-oscuro^  the  people  have,  until  within 
a very  short  time,  seemed  altogether  blind.  AYater-colors,  also,  were  al- 
most hooted  at;  wood-engraving  was  for  long  in  a pitiful  condition  ; and 
as  for  architecture  and  the  decorative  arts,  nothing  worthy  of  the  name, 
and  scarcely  a sigh  of  a perception  of  their  meaning,  could  be  said  to 
exist  on  this  side  of  the  Atlantic. 

Some  years  ago*' W.  J.  Linton,  one  of  tlie  most  distinguished  wood-en- 
gravers of  the  century,  came  to  this  country  to  live.  Whether  that  had 
anything  to  do  with  the  very  rapid  development  of  wood-engraving  hero 


168 


ART  IN  AMERICA. 


since  that  time  cannot  be  stated  with  certainty;  but,  judging  from  analogy, 
we  should  say  tliat  he  has  exerted  a marked  influence  in  stimulating  the 
remarkable  progress  already  reached  by  our  engravers  within  a very  few 
years.  A.V.  S.  Anthony  was  one  of  the  first  to  respond  to  the  awakening 
demand  for  good  wood-engraving  here,  and  has  shown  great  delicacy  and 
skill  in  interpreting  the  drawings  of  our  very  clever  artists  in  black  and 
white.  Charles  Marsh  is  also  an  engraver  of  remarkable  character  and 
originality  of  style.  In  the  rendering  of  a decorative  or  highly  ideal  class 
of  subjects  he  brings  to  his  aid  an  artistic  genius  not  surpassed  by  any 
engraver  we  have  produced.  Messrs.  Morse,  Davis,  Iloskin,  Wolf,  Annin, 
Juengling,  Kingsley,  Mliller,  Cole,  Smithwick  and  French,  Kreul,  Dana, 
Andrew,  and  King,  among  a number  who  have  distinguished  themselves 
in  this  art,  are  especially  noteworth}^,  not  only  for  correct  rendering  of 
the  spirit  of  a drawing,  but  often  for  individuality  of  style. 

One  of  the  most  interesting  phases  of  the  development  of  wood -en- 
graving in  this  country  has  been  the  discussion  as  to  its  position  among 
the  arts,  and  the  merits  of  the  recent  method  of  engraving  drawings  or 
paintings  photographed  directly  on  the  wood.  This  discussion  has  been 
interestiiig  and  valuable  as  another  evidence  of  the  activity  and  impor- 
tance which  the  art  question  has  already  assumed  in  the  community. 
That  engraving  is  an  art,  one  would  think  could  never  be  disputed,  if 
the  question  had  not  already  been  raised  with  a certain  degree  of  acri- 
mony on  the  part — strange  as  it  may  seem — of  those  who  are  often  de- 
pendent upon  the  genius  of  the  engraver  for  the  recognition  of  their  abili- 
ties by  the  public — the  artists  themselves.  It  seems  to  us  to  be  sufficient 
answer  to  those  who  consider  it  purely  a mechanical  pursuit,  that  the  sim- 
ple fact  that  the  higher  the  artistic  perceptions  of  the  engraver  the  better 
is  the  engraving  he  does,  proves  it  to  be  a work  of  art. 

On  the  other  hand,  it  appears  that  the  engraver  may  in  turn  assume 
too  much  when  he  claims  to  improve  upon  an  illustration,  or  objects se 
to  cutting  photographs  on  wood.  While  granting  to  engraving  the  rank 
of  art,  it  cannot  justly  be  forgotten  that  it  is,  after  all,  a means  to  an  end, 
— an  art,  it  is  true,  but  an  art  subordinate  to  other  arts  which  it  is  de- 
signed to  interpret.  Once  this  is  allowed,  it  follows,  as  a matter  of  course, 
that  it  is  the  duty  of  the  engraver  to  render  faithfully  the  drawing  or 
painting  that  is  to  be  cut;  and  to  magnify  himself  not  at  the  expense  of 
the  artist  who  made  the  drawing,  but  by  rendering,  as  nearly  as  possible, 


PRESENT  TENDENCIES  OF  AMERICAN  ART. 


169 


a fac-simile  of  the  original 
picture.  If  this  be  granted, 
then  is  it  not  clear  that,  in- 
stead of  opposing,  ho  should 
hail  Avith  satisfaction  any  new 
process  which  enables  him  to  give 
on  wood  or  any  other  material  a 
closer  copy  of  the  style  and  spirit 
of  the  artist  whom  he  is  interpret- 
ing. That  tin’s  can  be  done  by  a 
clever  engraver  by  photographing 
a pen-and-ink  drawing  or  painting 
directly  on  the  wood,  and  then 
studying  also  the  original  work  as 
ho  cuts  it,  seems  to  be  no  longer 


BIRDS  IX  THE  FOREST.” — [mISS  JESSIE  CCRTIS.] 


170 


ART  IN  AMERICA. 


an  open  question.  It  lias  been  demonstrated  by  too  many  excellent  en- 
gi'avers  within  the  last  li\e  years. 

Another  advantage  of  what  we  cannot  bnt  consider  an  advance  in  this 
art  is,  that  it  admits  of  a larger  variety  of  styles,  and  a freer  expression  of 
the  designer’s  methods  of  thought  and  feeling,  and  also  enables  many  who 
do  not  care  to  work  in  the  cramped  limits  of  a block  of  wood  to  make  a 
large  composition  in  black  and  white,  whether  with  Indian-ink  or  mono- 
chrome in  oil,  which  is  tlien  photographed  on  the  wood.  In  this  way  far 
greater  freedom  and  individuality  of  handling  is  obtained,  and  a nobler 
utterance  of  the  trntlis  of  nature.  Can  there  be  any  question  that  a 
process  which  allows  of  such  variety  of  expression  must  inure  to  art 
progress,  and  still  more  to  the  instruction  of  the  people,  who  are  directly 
benefited  by  the  illusti’atioiis  which  are  brought  to  their  own  dooi’S,  and 
placed  in  the  liands  of  the  young  at  the  time  wdien  their  tastes  and  charac- 
ters are  forming,  and  tlieir  imagination  is  most  plastic  and  impressionable? 

It  would  seem  as  if  the  art  of  wood -engraving  had  received  in  the 
most  direct  manner  the  action  of  some  unseen  hand,  impelling  it  sudden- 
ly forward  in  this  country  by  concerted  action  with  the  genius  of  illustra- 
tion; for  apparently  by  secret  agreement  that  branch  of  art  has  within 
the  last  decade  developed  a comparative  excellence  yet  reached  by  none 
of  the  sister  arts  in  the  land.  And  this  turn  for  illustration  has  natural- 
ly been  accompanied  by  an  active  movement  in  black  and  white  drawing, 
particulaily  in  crayon. 

Samuel  W.  Rowse  was  one  of  the  first  to  give  an  impetus  to  crayon 
drawing  by  a style  of  portraiture  especially  his  own.  As  such  he  ranks 
with  our  leading  portrait-painters;  while  the  fact  that  he  employed  crayon 
as  a medium  for  a time  gave  him  a position  almost  entirely  alone  in  this 
countiT.  There  is  a wonderful  subtlety  in  his  power  of  seizing  character 
and  the  rendition  of  soul  in  the  faces  he  portrays.  Equally  happy  in  all 
the  subjects  he  treats,  he  will  be  longest  remembered,  perhaps,  for  the 
many  beautiful  children’s  portraits  he  has  executed.  The  success  of 
Kowse  naturally  led  to  similar  attempts  l)y  other  artists;  and  in  all  oiir 
leading  cities  one  may  now  find  crayon  artists  who  are  more  or  less  suc- 
c.essful  in  the  department  of  portraiture,  among  whom  may  be  mentioned 
Ik  C.  Mnnzig  and  Fi'cderick  W.  Wright.  Out  of  this  has  grown  a school 
of  landscape -artists  employing  charcoal  — a medinm  that  Lalanne  and 
Allonge  had  already  used  with  magical  results.  John  R.  Key,  who  is  well 


PRESENT  TENDENCIES  OF  AMERICAN  ART. 


171 


known  as  a painter  in  oil,  lias,  however,  done  his  best  work,  as  it  seems 
to  ns,  in  charcoal.  There  is  great  tenderness  in  his  treatment  of  light  and 
shade,  togetlier  with  harmonious  composition.  J.IIopkinson  Smith,  known 
as  a water- colorist,  also  handles 
charcoal  like  a master.  lie  seizes 
his  effects  with  the  rapidity  of  im- 
provisation, treats  them  in  masses, 
and  shows  a feeling  for  chiaro- 
oscuro  that  is  almost  unique  in 
our  art. 

When  we  come  to  the  book  il- 


lustrators we  encounter 
a number  of  artists  of 
merit,  and  occasionally 
of  genius,  who  ai-e  so 
numerous  that  wo  ^ can  select  oidy  here  and  there  a few  of  the 

most  prominent  names.  Felix  O.  C.  Dailey  was  one  of  the  first  to  show 
the  latent  capacity  of  our  art  in  this  branch.  II is  style  soon  became 


172 


ART  IN  AMERICA. 


very  maimered,  but,  at  the  same  time,  undoubtedly  showed  great  origi- 
nality and  invention  in  seizing  striking  characteristics  of  'our  civiliza- 
tion, and  a refined  fancy  in  representing  both  humor  and  pathos.  His 
linear  illustrations  to  “Kip  Van  Winkle”  and  Judd’s  “Margaret”  placed 
him,  until  recently,  among  our  first  two  or  three  genre  artists.  Less  ver- 
satile and  inventive,  Augustus  Hoppin  has,  however,  earned  an  honorable 
position  among  our  earlier  illustrators.  Louis  Stephens  also  wmn  dis- 
tinction for  an  elegant  rendering  of  humorous  subjects.  Then  followed 
a group  of  landscape  illustrators,  among  whom  Harry  Fenn  holds  a high 
position  for  poetically  rendering  the  illimitable  aspects  of  nature  and  the 
picturesqueness  of  rustic  or  Old  World  scenery  and  ruins.  Under  the 
guidance  of  his  facile  pencil  how  many  have  been  instructed  in  art,  and 
learned  of  the  varied  loveliness  of  this  beautiful  world  ! Thomas  Moran 
ranks  wfith  Mr.  Fenn  as  a master  in  this  field.  It  appears  to  us  that  in 
this  branch  he  displays  more  originality  and  imagination  than  in  the  elab- 
orate paintings  by  which  he  is  best  known. 

Within  a very  few  years — so  recently,  in  fact,  that  it  is  difficult  to  see 
where  they  came  from — a school  of  genre  illustrators  have  claimed  recog- 
nition in  our  art,  educated  altogether  in  this  country,  and  yet  combining 
more  art  equalities  in  their  works  than  we  find  in  the  same  number  of 
artists  in  any  other  department  of  American  art.  It  is  a little  singular 
that,  notwithstanding  the  recent  interest  in  black  and  white  in  this  coun- 
try, the  genre  artists  wdio  represent  it  should  at  once  have  reached  an  ex- 
cellence which  commands  admiration  on  both  sides  of  the  Atlantic,  while 
our  painters  in  the  same  department  have  rarely  achieved  more  than  a 
secondary  rank. 

Alfred  Fredericks  has  distinguished  himself  by  combining  landscai3e 
and  figure  in  a most  graceful,  airy  style ; and  Miss  Jessie  Curtis,  in  the 
delineation  of  the  simplicity  and  beauty  of  child  life,  has  delightfully  treat- 
ed one  of  the  most  winsome  subjects  which  can  attract  the  p>encil  of  the 
poetic  artist.  Miss  Humphreys,  in  the  choice  of  a somewhat  similar  class 
of  subjects,  has  yet  developed  individuality  of  method  marked  by  breadth 
of  effect  and  forcible  treatment.  Of  the  ladies  who  have  found  scope  for 
their  abilities  in  the  field  of  illustration  q)erhaps  none  have  excelled  Mrs. 
Mary  Halleck  Foote.  We  cannot  always  find  her  style  of  composition 
agreeable,  and  in  invention  or  lightness  of  fancy  she  seems  deficient,  while 
her  manner  is  strong  rather  than  graceful.  But  she  is  a most  careful  stu- 


PRESENT  TENDENCIES  OF  AMERICAN  ART, 


173 


SOME  ART  CONNOISSEURS. [w.  HAMILTON  GIBSON.] 


ei’,  and  show  knowledge  and  reserve  force. 

Some  of  her  realistic  landscapes  are  al- 
most as  true  and  intense  in  black  and  white  as  the  daring  realisms  of 
Courbet  in  color,  but  showing  fine  technical  facility  rather  than  imagina- 


dent  of  nature,  and  the  effects 
she  aims  at,  and  sometimes 
reaches,  are  inspired  by  an  al- 
most masculine  nerve  and  pow- 


m 


ART  m AMERICA. 


tioii.  Miss  Annette  Bishop,  wlio  died  too  early  to  win  a general  recogni- 
tion of  her  talents,  was  gifted  with  a most  delicate  poetic  fancy,  and  singu- 
lar facility  in  giving  expression  to  its  dreams. 

F.  S.  Church  is  an  artist  of  imagination,  painting  in  oil  and  water-col- 
ors, but  perhaps  best  known  for  striking  and  weird  compositions  in  black 
and  white,  often  treating  of  animal  or  bird  life.  lie  is  an  artist  whose 
advent  into  our  art  we  hail  with  pleasure,  not  because  his  style  is  wholly 
matured  or  always  quite  satisfactory,  for  it  is  neither,  but  because  it  is  in- 
spired by  a genuine  art  feeling,  and  yet  more  because  it  shows  him  to  be 
— what  so  few  of  our  artists  have  been — an  idealist.  AVhat  is  art  but  a 
reaching  out  after  the  ideal,  the  most  precious  treasure  given  to  man  in 
this  world?  It  includes  faith,  hope,  and  charity.  To  search  after  the 
ideal  good,  to  live  in  an  ideal  world,  to  yearn  after  and  try  to  create  the 
harmony  of  the  ideal,  is  the  one  boon  left  to  man  to  give  him  a belief  in 
immortality  and  a higher  life.  The  more  of  an  idealist  the  poet  or  the 
artist,  the  nearer  he  comes  to  fnltilling  his  mission.  The  idealist  is  the 
creator,  the  man  of  genius;  and  therefore  we  hail  with  joy  the  appearance 
of  every  idealist  who  enters  our  art  raid^s,  and  infuses  vitality  into  the 
prose  of  technical  art,  and  inspiration  into  the  dogmas  of  the  schools.  The 
most  hopeless  feature  of  American  art  has  always  been  liitherto,  as  with 
our  literature,  the  too  evident  absence  of  imagination  ; and  wherever  we 
recognize  an  idealist,  we  set  him  down  as  another  mile-stone  to  mark  the 
progress  in  art.  It  is  through  the  idealists  that  Heaven  teaches  truth  to 
man ; and  hence  another  reason  why  we  regard  with  such  impoi'tance 
the  present  school  of  artists  in  black  and  white.  In  no  department  is 
there  more  scope  for  the  imagination  than  in  the  drawing  of  the  pure  line 
or  in  the  suggestions  of  cliiaro-oscuro.  Therein  lies  the  enormous  power 
of  the  art  of  Hembi’andt.  He  dealt  with  that  seemingly  simple  but  really 
inexhaustible  medium,  light  and  shade:  in  the  hands  of  a inastei*,  potent 
as  the  wand  of  a magician  to  evolve  worlds  out  of  chaos. 

Barry,  Bensell,  She[)herd,  Davis  (who  is  also  known  as  a decorative 
artist),  T.  A.  Bichards,  Eytinge,  Frost,  Merrill,  Ipsen,  Shirlaw,  Lathrop, 
Lewis,  Perkins,  and  Davison  are  other  artists  who  have  justly  acquired 
repute  for  success  in  the  department  of  black  and  white,  or  book  illus- 
tration. Kelley  has  a sketchy  style  that  is  very  effective,  and  of  which 
the  correct  rendering  on  wood  would  have  been  well-nigh  impossible  with 
the  old  processes;  but  there  is  danger  of  carrying  it  to  the  verge  of  sen- 


WAiSUIXGTON  OPKISING  THE  BALL.” [c.  E.  UEIMIAUT.] 


PRESENT  TENDENCIES  OF  AMERICAN  ART. 


ITT 


sationalism.  Tlie  facilities  afforded  b}’  photograpliiiig  a design  on  wood 
lias  seemed  to  be  the  occasion  for  aiding  the  development  of  a class  of  ar- 
tist-anthors  who  both  write  and  illustrate  their  own  articles  for  the  maga- 
zines. How  remai'kably  well  this  can  be  done  is  proved  bj  such  clever 
artists  as  Howard  Pvle  and  AV.  Gibson,  who  display  at  once  fertility  of 
imagination  and  teclinical  facility  as  draughtsmen.  C.  S.  Heinhart  has 
become  widely  known  as  one  of  the  most  versatile  illustrators  we  have 
produced.  Excelling  as  a draughtsman,  be  brings  to  his  aid  an  active  fan- 
cy that  enables  him  vividly  to  realize  the  scenes  he  undertakes  to  repre- 
sent ; and  he  seems  equally  at  home  in  the  portrayal  of  quaint  old-time 
scenes,  or  the  brilliant  costumes  and  characters  of  the  present  day,  com- 
bined with  forcible  delineations  of  scenery.  The  Puritan  damsel  or  the 
belle  of  Newport  may  alike  be  congratulated  when  Mr.  Peinhart  ushers 
them  before  us  with  the  grace  of  a master.  The  success  of  this  school  of 
artists,  who  have  made  their  mark  in  the  department  of  illustration,  has 
doubtless  been  due  in  part  to  the  increasing  study  of  the  figure  in  this 
country,  and  the  greater  facilities  afforded  for  drawing  from  the  life.  Most 
of  these  artists  are  young  men,  whose  abilities  have  been  vastly  assisted 
by  their  studies  in  life  schools,  which  it  would  have  been  well-nigh  im- 
possible for  them  to  find  in  the  earlier  periods  of  our  art.  Although  per- 
haps better  noticed  under  the  head  of  Ethics  rather  than  of  ^Esthetics,  we 
may  allude  to  the  surprising  growth  and  influence  of  caricature-drawing 
in  this  country,  represented  by  such  able  artists  as  Nast,  Bellew,  Kepler, 
or  Cusack,  as  associated  with  the  development  of  our  black  and  white  art. 

An  artist  who  seems  to  combine  the  qualities  we  see  more  or  less 
represented  by  other  artists  in  black  and  white,  who  has  already  accom- 
plished remarkable  results,  and  gives  promise  of  even  greater  successes,  we 
find  in  E.  A.  Abbey.  It  must  be  taken  into  consideration  that  he  is  still 
veiy  young;  that  he  now  for  the  first  time  visits  the  studios  and  galleries 
of  Europe;  that  his  advantages  for  a regular  art  education  have  been  very 
moderate,  and  that  he  is  practically  self-educated.  And  then  compare 
with  these  disadvantages  the  amount  and  the  quality  of  the  illustrations 
ho  has  turned  out,  add  we  see  represented  in  him  genius  of  a high  order, 
combining  almost  inexhaustible  creativeness,  clearness  and  vividness  of 
conception,  a versatile  fancy,  a poetic  perception  of  beauty,  a quaint,  deli- 
cate humor,  a wonderful  grasp  of  whatever  is  weird  and  mysterious,  and 
admirable  chiaro-oscuro^(\v^\\\\v^^  and  composition,  AYhen  we  note  such 

12 


17S 


ART  IN  AMERICA, 


a rare  combination  of  qualities,  we  cease  to  be  surprised  at  the  coi’dial 
recognition  awarded  his  genius  by  the  best  judges,  both  in  London  and 
Paris,  even  before  he  had  left  this  country. 

If  I iiave  spoken  strongly  in  favor  of  our  school  of  illustrators,  it  is 
because  I think  sucli  commendation  has  been  rightly  earned,  and  to  with- 
hold it  when  merited  would  be  as  unjust  as  to  give  censure  when  unde- 
served. Criticism  need  not  necessarily  be  the  essence  of  vitriol  and  gall, 
as  some  ci’itics  seem  to  imagine  it  to  be.  A jury  is  as  much  bound  to 
approve  the  innocent  as  to  condemn  the  guilty. 


MUSEUM  OF  FIXE  ARTS,  BOSTON, 


In  another  department  of  our  arts  we  also  feel  called  to  award  praise 
to  a degree  that  has  never  before  been  possible  in  the  history  of  American 
art.  I refer  to  the  department  of  architecture.  It  is  difficult  to  say  ex- 
actly when  the  new  movement  toward  a fuller  expression  of  beauty  in  our 
civic  and  domestic  building  began;  but  we  are  conscious  that  about  ten 
years  ago  what  was  for  a time  a mere  vague  feeling  after  more  agreeable 
examples  of  architecture  shaped  itself  into  a definite  and  almost  system- 
atic impulse.  The  Chicago  fire,  and  more  especially  the  great  f re  in  Bos- 
ton, accelerated  the  action  of  the  forces  that  already  directed  the  people  to 
demand  nobler  forms  and  types  in  the  constructions  that  Avere  henceforth 


PKESENT  TENDENCIES  OF  AMERICAN  ART. 


179 


to  be  erected  in  our  growing  cities.  The  advance  of  landscape-gardening, 
as  evidenced  in  the  Central  Park  of  IMew  York,  and  the  public  parks  of 
other  cities,  doubtless  aided  to  increase  the  yearning  for  material  beauty. 
Put  whatever  the  influences  at  work,  there  is  no  question  as  to  the  results 
already  apparent.  I would  not  be  understood  as  approving  all  the  build- 
ings of  importance  that  have  recently  been  put  up  in  this  country — very 
far  from  it.  But,  on  the  other  hand,  one  cannot  avoid  seeing  that  the 
genei’al  tendency  is  toward  improved  styles,  and  that  here  and  there  groups 
of  buildino:s  or  siimle  structures  have  been  erected  which  are  at  once 
elegant,  commodious,  and  artistic ; and,  if  not  strictly  offering  new  orders 
of  architecture,  presenting  at  least  graceful  adaptations  of  old  orders  to 
new  climatic  and  social  conditions  in  a way  that  gives  them  the  merit  of 
originality. 

So  prominent  has  this  improvement  in  architecture  already  become  in 
American  cities,  that  already  their  external  aspect  or  profile  has  begun  to 
partake  of  the  picturesque  character  hitherto  supposed  to  belong  only  to 
the  Old  AYorld,  and  to  present  that  massing  of  effect  so  dear  to  the  artistic 
eye.  AYe  can  illustrate  this  by  mentioning  only  two  or  three  examples 
among  man^x  One  who  looks  toward  Philadelphia  from  the  railway  sta- 
tion on  the  east  side  of  the  Schuylkill,  may  see  a cluster  of  spires  and 
domes  centering  around  the  Academy  of  Fine  Arts,  which  is  so  agreea- 
bly composed  that  one  would  almost  imagine  the  position  of  each  to  be 
the  deliberate  choice  of  a master  in  composition.  Twenty  years  ago  one 
would  have  looked  in  vain  for  any  such  harmonious  outline  of  structural 
beauty  in  this  country.  The  small,  quaint  fishing-port  of  Marblehead  has 
also  found  itself  suddenly  transformed  into  one  of  the  most  pleasing  cities 
of  the  Union,  as  viewed  from  the  Neck  across  the  harbor;  for  on  the  veiy 
crest  of  the  hills  upon  which  the  place  is  built  a town-hall  has  been  erect- 
ed, of  brick,  neatly  faced  with  stone,  and  surmounted  by  an  elegant  tower. 
At  once  the  old  town  has  emerged  from  the  commonplace  into  the  region 
of  the  picturesque.  The  new  structure  has  given  character  and  symmetri- 
cal outline  to  the  city  by  producing  convergence  to  a central  point  of  ef- 
fect; and  when  the  s'un  sets  behind  it,  and  brings  its  outline  into  bold  but 
harmonious  relief  ao-ainst  a c^olden  backi^round,  while  a mist  of  irlowinir 
rays  glazes  the  whole  into  tone,  the  view  is  in  the  highest  degree  artistic, 
and  so  resembles  some  of  the  scenes  one  so  often  sees  in  the  Old  AYorld 
that  he  can  hardly  believe  he  is  gazing  at  an  American  prospect. 


180 


ART  IN  AMERICA. 


We  find  a soinewliat  similar  effect,  but  on  a imicli  larger  scale,  pre- 
sented by  the  new  Capitol,  or  State-house,  at  Albany.  This  city,  as  beheld 
from  the  0[)posite  banks  of  the  Hudson  at  Greenbush,  has  always  been  one 
of  the  most  pleasing  of  American  cities,  situated  as  it  is  on  several  lofty 
hills,  divided  by  I'avines  in  which  pui-ple  shadows  linger  when  night  is 
appi’oaching ; but  the  addition  of  the  vast  structure  now  in  course  of  com- 
pletion there  adds  greatly  to  the  glory  of  the  spectacle.  It  dominates  over 
the  city  of  eighty  thousand  inhabitants  with  supei'b  dignity;  and  the  whole 
place  borrows  beauty  fi'om  it,  and  is  elevated  above  prose  into  poetry. 
Again  one  is  reminded  of  the  cathedral  towns  of  Europe,  where  some 
lofty,  venerable  minster  guai’ds  through  the  ages  the  roofs  that  cluster 
below.  Not  that  this  pile,  which  is  rather  hybrid  in  its  style,  is  to  be  con- 
sidered equal  to  the  masterpieces  of  old-time  architecture;  but  it  is  a long 
step  in  advance  compared  Avith  the  civic  buildings  formerly  erected  and 
admired  in  our  cities,  and  its  presence  at  the  capital  of  a great  State 
cannot  but  have  an  ennobling  and  educational  influence  upon  rising 
irenerations. 

The  styles,  AA’hether  pure  or  modified,  that  are  most  employed  by  our 
architects  in  this  new  movement  have  been  chiefly  the  Romanesque,  the 
Ralladian  Renaissance,  the  French  Renaissance  of  Mansard  and  Rerrault, 
and  the  later  Elizabethan  or  Jacobean.  The  first  two  have  entered  chiefly 
into  tlie  construction  of  civic  buildings;  the  second  has  been  followed  in 
religious  edifices  ; while  the  last  has  been  used  Avith  excellent  effect  in  do- 
mestic architecture.  A fine  example  of  the  success  achieved  in  the  em- 
ployment of  the  Romanesque  is  seen  in  the  new  Trinity  Church  on  the 
Rack  Bay  lands,  in  Boston,  designed  by  Gambrel  and  Richardson.  This 
is  one  of  the  most  conscientious  and  meritorious  buildings  ei’ected  on  this 
continent,  although  less  imposing  tlian  it  Avould  have  been  if  the  origi- 
nal desio-n  had  been  fullv  carried  out.  There  is,  also,  an  affectation  of 
strength  in  the  massive  blocks  of  undressed  stone  under  the  Avindows,  in 
a part  Avhere  such  strength  is  disproportionate  to  that  employed  in  other 
portions  of  the  building.  But  the  genei-al  effect  is  excellent,  and  the  cov- 
ei-ed  approaches  or  cloisters  are  quite  in  the  spirit  of  true  architecture. 
Color  enters  judiciously  into  the  selecti(ui  of  the  stone  used  to  aid  the  gen- 
eral effect;  and  the  same  observation  may  be  applied  to  the  very  elegant 
toAver  of  the  new  Old  South  Church,  close  at  hand,  designed  by  Peabody 
and  Robinson,  in  the  Italian  Gothic  style,  and  Avhich  for  grace,  beauty. 


THE  ASTONISHED  ABBE.” [e,  A.  ABBEY.] 


PRESENT  TENDENCIES  OF  AMERICAN  ART. 


183 


and  majesty  has  not  been  sin-passed  on  this  side  of  the  Atlantic.  Tlie 
church  edifice  to  which  it  is  attaclied,  although  sufficiently  ornate — per- 
haps too  much  so — is  lacking  in  that  repose  of  outline  or  just  proportions 
that  are  required  to  bring  it  into  harmony  with  the  campanile. 

Other  towers  and  churches  are  clustered  in  that  neighborhood,  erected 
within  ten  years,  Avhicli  present  an  effect  that  is  really  intrinsically  beauti- 
ful, without  taking  at  all  into  question  the  rapidity  of  the  transformation 
which  has  come  over  the  spirit  of  our  architecture.  And  the  effect  is 
heightened,  to  a degree  never  before  attained  on  this  continent  since  the 
Mound-builders  passed  away,  by  the  excellence  of  the  domestic  architect- 
ure which  has  entered  into  the  construction  of  the  dwellings  of  that  vici- 
nage, especially  on  Boylston  Street  and  the  adjacent  avenues.  Beauty, 
taste,  and  comfort  are  there  found  combined  to  a degree  that  promises 
much  for  the  future  of  architecture  in  our  country.  The  gargoyles,  ga- 
bles, cornices,  and  carvings  one  meets  at  every  turn  carry  one  quite  back 
to  the  Middle  Ages.  It  is  interesting  to  observe  that  the  sham  cornices 
formerly  so  common  here  are  gradually  being  discarded,  together  with  all 
the  other  trumpeiy  decoration  so  much  in  vogue.  Good  honest  work  is 
shown  in  external  decoration,  together  with  a feeling  for  color  that  is 
adding  much  to  the  cheerfulness  of  our  cities.  Brick  is  made  to  do  ser- 
vice for  ornamentation  as  well  as  for  mere  dead  walls,  and  string  courses, 
or  bands  of  colored  tiles  or  terra-cotta  carvings,  all  of  an  enduring  charac- 
ter, enter  into  the  external  decorations  of  private  dwellings. 

Not  only  is  the  love  of  beauty  shown  in  domestic  architecture,  but  it 
is  found  displayed  in  the  construction  of  banks  and  stores;  and  it  is  again 
in  Boston  that  we  find  whole  streets  of  buildings  of  rich  and  elegant 
design,  and  conscientiously  con.strncted,  devoted  wholl}^  to  business  pur- 
poses. But  a building  which,  perhaps,  more  than  any  other  is  typical  of 
the  architectui*al  movement  now  passing  over  the  country  is  the  Museum 
of  Fine  Arts  in  Boston.  It  is  not  so  much  after  any  one  style  as  a choice 
from  different  schools  of  latei  Gothic  adapted  to  modern  conditions.  The 
terra-cotta  groups  in  relievo  in  the  fagade,  temper  what  would  be  other- 
wise too  large  an  ex[)anse  of  warm  (;olor,  for  it  is  built  of  I’ed  brick.  The 
groiqied  arches,  turrets,  and  oriel  windows,  and  the  numerous  terra-cotta 
decorations  at  the  s-angles  and  on  the  gables,  are  elegant,  but  perhaps  so 
generally  distributed  as  to  be  a little  confusing.  The  effect  is  scattered, 
and  thus  weakened,  instead  of  being  massed  at  one  or  two  central  or  sail- 


ART  IN  AMERICA. 


ISl 

eiit  points.  Tliis  is  tlie  most  glaring  error  we  discover  in  tlie  present  im- 
portation or  adaptation  of  foreign  and  ancient  st}des  to  our  needs  liere.  It 
is  an  error  which  we  share  with  the  modern  British  architect,  and  was  for- 
cibly illustrated  in  the  new  Houses  of  Parliament,  by  Sir  Charles  Barry. 


A child’s  portrait. — [b.  c.  porter.] 


No  building’s  of  this  century  are  so  profusely  ornate  as  some  of  the  mag- 
nificent cathedrals  and  town-halls  of  the  Middle  Ages;  but  at  the  same 
time  all  this  sumptuousness  of  decoi’ation  was  massed  upon  one  or  two 
effective  spots,  surrounded  liy  large  spaces  comparatively  simple  and  free 
of  embellishment.  Thus  gi’andeur  and  nobility  of  outline  were  preserved, 
wdiile  extraordinai’y  beauty  in  color  and  sculpture  could  be  added  without 
disturbing  the  general  effect  or  cloying  the  imagination.  But  our  archi- 


PKESENT  TENDENCIES  OF  AMERICAN  ART. 


185 


tects,  not  having  yet  fully  grasped  the  ideas  after  wliich  they  are  search- 
ing, scatter  instead  of  concentrating  the  external  decorations  of  tlieir 
buildings. 

Interior  decoration  has  also  naturally  assumed  importance  as  the  qual- 
ity of  our  architecture  has  advanced.  Elaborate  wood-carvings  are  enter- 
ing into  the  decorations  of  the  houses  of  our  citizens,  and  painting  is 
called  in  to  adorn  the  walls  of  private  and  civic  buildings,  sometimes  with 
more  affectation  or  extravagance  than  taste  ; although  it  can  be  conceded 
without  hesitation  that  a remarkable  and  decided  improvement  is  notice- 
able within  a very  few  years  in  the  decoi-ation  of  interiors  in  this  countrv. 
M.  Brumidi  made  a beginning,  some  twenty  years  ago,  in  the  frescoes  of 
the  Capitol  at  AVashington;  and  quite  recently  Mr.  Lafarge  has  beautified 


A BIT  OF  VENICE. — [SAMUEL  COLMAN.] 

the  interior  of  Trinity  Church,  Boston,  and  other  public  buildings,  with 
sacred  designs  in  fresco,  and  other  decorative  work  in  gold  and  red,  which 
are  very  interesting.  Among  the  last,  and  probably  the  most  important, 
works  of  the  late  AVilliam  M.  Hunt  were  the  inui-al  paintings  in  oil  for  the 


186 


ART  IN  AMERICA. 


new  State-house  at  Albany.  Other  artists  who  liave  shown  promise  in 
tliis  department  are  Francis  Lathrop  and  Frank  Hill  Smith. 

It  is  not  surprising  to  lind  that  this  advance  in  decorative  art,  together 
with  the  increasing  luxury  accompanying  it,  should  create  a demand  and 
develop  a talent  for  toreutic  art,  or  art  in  metal-work,  especially  the  pre- 
cious metals;  and  such  we  find  to  be  the  case.  The  success  achieved  in 
this  department  is,  perhaps,  the  most  remarkable  yet  attained  in  American 
art,  excepting  possibly  that  of  some  of  our  artists  in  black  and  white,  and 
has  justly  merited  and  obtained  uiupialified  applause  abroad  as  well  as  at 
home.  It  is  to  such  designers  as  Messrs.  Grosjean,  Perring,  Wilkinson, 
and  Moore,  assisted  by  the  most  skilled  artisans  of  the  age,  that  our  to- 
reutic art  is  indebted  for  the  recognition  it  received  at  the  French  Expo- 
sition. 

Another  sign  of  the  rapidly  increasing  activity  of  the  interest  taken  in 
the  art  cpiestion  in  America  is  presented  by  the  art  museums  or  galleries 
wdiich  have  almost  simultaneously  arisen  in  Boston,  New  Haven,  New 
AMrk,  and  Wasliington,  founded  at  considerable  expense,  and  entirely 
without  State  aid.  AVith  the  former  two  are  connected  important  schools 
for  art  instruction,  combined  with  fine  casts  of  the  masterpieces  of  ancient 
plastic  art. 

Another  evidence  of  the  awakening  art  feeling  of  a great  nation  is  the 
demand  for  art  education — a want  which  has  been  met  by  the  establish- 
ment of  numerous  schools  or  academies  of  art  in  our  leading  cities  all 
over  the  land,  from  the  Atlantic  to  the  Pacific.  It  is  true  that  in  Phila- 
delphia, Boston,  and  New  York  academies  were  founded  early  in  the 
century,  and  the  last  especially  had  become  a very  important  factor  in 
stimulating  the  latent  love  for  art  in  onr  people.  The  Massachusetts  Nor- 
mal Art  School,  under  the  able  direction  of  Mr.  AFalter  Smith,  while  de- 
voted chiefly  to  the  advancement  of  industrial  art,  has  also  by  its  exam- 
ple greatly  assisted  the  growth  of  the  art  feeling  in  the  popular  mind. 
While  much  may  be  in-ged  with  reason  against  compulsory  instruction  of 
art  in  the  public  schools,  it  would  seem  that  few  could  be  found  to  object 
to  the  education  of  art  instructors,  and  the  addition  of  an  optional  art 
branch  to  the  State  schools  for  the  benefit  of  those  who  are  desirous  of  art 
instruction,  but  are  too  poor  to  a\ail  themselves  of  the  advantages  offered 
by  such  admirable  art  schools  as  those  of  the  Cooper  Institute  and  Artists’ 
League  in  New  AYrk,  the  National  Academy  or  the  Museum  of  Fine  Arts 


TKESEXT  TENDENCIES  OF  AMERICAN  ART.  1ST 

ill  Boston,  or  the  Academy  in  Philadelphia.  It  may,  then,  be  conceded 
that  the  founding  of  the  Massachusetts  Normal  Art  School  is  not  only  a 
strong  indication  of  a gimwing  demand,  but  that  it  has  also  been  a very 
po\yerfnl  agent  in  the  diffusion  of  art  knowledge  in  the  United  States. 

Thus  we  see  that  by  a cumnlatiye  effort  tlie  arts  are  making  sudden 
and  rapid  progress  in  America.  And  there  is  still  another  moyement 
which  strikingly  indicates  this.  Slow  to  be  recognized,  and  meeting  in 
some  quarters  with  but  cold  welcome,  it  is  yet  by  no  means  the  least  sig- 
nificant indication  out  of  many  that  we  are  in  the  full  tide  of  msthetic 
progress,  and  hace  fairly  entered  on  the  third  period  of  American  art. 


“the  old  orchard.’’ [r.  swain  GIFEORD.J 

From  the  time  of  West  it  has  been  not  nncommon  for  oiir  painters  to 
go  to  Europe  for  study  and  obseryation  ; but  they  either  had  the  mis- 
fortune to  form  their  style  after  that  of  schools  ali-eady  conyentional  and 
on  the  wane,  or  they  were  not  yet  sufficiently  adcanced  to  accept  the 
methods  and  principles  of  new  masters  and  schools.  A possible  e.xjdana- 
tion,  that  is  more  philosophical,  but  which  some  may  decline  to  accept, 
may  be  found  in  the  general  laws  dii’ecting  human  [irogress,  that  obliged 
us,  unconsciously,  falteringly  to  tread  one  after  the  other  the  successiye 
steps  which  others  haye  followed  before  us.  Foi*  the  same  reason,  when 
an  artist  of  unusual  ability,  like  Stuart,  appeared  in  the  country,  he  had 
little  or  no  following,  because  he  came  before  his  time. 


ART  IN  AMERICA. 


ISS 


A LANDSCAPE. — [geORGE  INNESS.] 


But  it  lias  been  ovideut  for  some  years  tliat  a new  element  was  enter- 
ing onr  art  ranks  and  demanding  expression,  wdiieli  has  at  last  reached  a 
degree  of  vigor  and  organized  strength  that  challenges  respectful  attention, 
if  not  nnqualitied  acceptance.  By  associations,  schools,  and  exhibitions 
of  its  own,  it  has  thrown  down  the  gauntlet  to  conservatism  and  conven- 
tionalism, and  the  time  has  arrived  when  we  can  no  lono-er  shut  our  eyes 
to  the  fact  that  a new  force  is  exerting  itself  with  iconoclastic  zeal  to  in- 
troduce a different  order  of  things  into  American  art.  We  cannot  justly 
consider  this  movement  in  the  light  of  reform,  for  up  to  this  time  our  art 
has  been  very  creditable,  and,  considering  the  environing  circumstances, 
full  as  advanced  pi’oportionally  as  the  other  factors  of  American  civiliza- 
tion. We  regard  it  simply  as  another  stage  in  onr  art  progress,  destined, 
when  it  has  accomplished  its  end,  to  be  in  turn  succeeded  by  yet  higher 
steps  in  the  scale  of  advance ; for,  notwithstanding  the  somewhat  de- 
monstrative assumptions  of  some  of  its  promotei'S,  the  new  movement 
does  not  comprehend  within  itself,  more  than  any  other  school,  all  the 
qualities  of  great  art.  To  no  school  of  art  has  it  yet  been  given  to  de- 
monstrate and  include  in  itself  all  the  possibilities  of  art,  or  to  interpret 
all  the  truths  of  natui’e  and  man.  Perhaps  some  futui-e  school  may  arise, 
with  all  the  knowledge  of  the  ages  to  choose  from,  Avhich  may  compre- 


PRESENT  TENDENCIES  OF  AMERICAN  ART.  ISO 

hend  the  ^vhole  sphei-e  of  art  in  its  compass.  But  they  are  probably  not 
yet  born  wlio  sliall  see  it,  or  give  to  it  the  symmetry  of  perfection.  Until 
that  time,  it  bebooycs  those  neophytes  and  disciples,  ^yho  proclaim  that 
their  art  includes  all  that  aiT  has  to  tell,  to  be  modest  in  their  claims,  and 
to  be  satished  if  they  ha  ye  been  able  by  fasting  and  prayer  to  enrich  the 


“la  MARGUERETTK THE  DAISY.” [wiLLIAM  M.  HUMT.J 

\vorld  of  art  \yith  one  or  t\yo  new  truths.  Nowhere  is  hnmiliU  more  be- 
coming than  in  art;  arrogance  and  assumption  dig  its  gra\e  sooner  or 
later;  while  linmilify  is  by  no  means  incompatible  with  earnestness,  zeal, 
and  progress. 

The  1‘ipeness  of’onr  art  for  a change  before  the  new  moyement  actu- 
ally assumed  definite  shape  had  already  been  suggested  and  weh^omed  in 
adyance  by  such  artists  as  Eastman  Johnson,  Homer  Martin,  and  Samuel 


190 


ART  IN  AMERICA. 


Colmaii,  the  admirable  painter  in  oil  and  water  colors,  strong  in  chiaro- 
oscuro^  brilliant  in  color,  and,  although  without  academic  training  abroad, 
of  a most  excellent  catholic  s}>irit  in  all  matters  relating  to  art,  ready  to 
accept  the  good  of  whatever  school,  and  to  aid  progress  in  the  arts  of  his 
native  land  by  whomsoever  promoted.  Benjamin  C.  Porter,  whose  mas- 
sive characterizations  in  portraiture,  broadly  treated  and  admirably  color- 
ed, have  been  among  the  most  important  achievements  in  i-ecent  Ameri- 
can art,  and  Winslow  Homer,  A.  II.  Wyant,  and  E.  M.  Bannister  are  also 
among  the  artists  whose  sympathies  are  naturally  with  the  new  movement, 
although  receiving  their  art  training  chiefly  in  this  country,  and  who  have 
thus  indicated  and  prepared  the  way  for  the  assertion  of  new  influences 
in  our  art. 

P.  Swain  Gifford  should  be  added  to  the  list  of  the  noteworthy  land- 
scape-painters who  have  thi'own  the  weight  of  their  influence  in  advance 
to  welcome  to  our  shores  new  elements  of  pi'ogress  and  change  whereby  to 
quicken  American  art  to  fresh  conquests.  This  artist  at  one  time  devoted 
his  efforts  to  marine-painting,  in  wfliich  he  did  and  still  does  some  credita- 
ble work,  his  knowledge  of  ships  being  sufticiently  technical  to  satisfy  the 
nautical  eye;  but  since  his  sojourn  in  Algeria,  and  the  observations  made 
in  the  Continental  galleries  and  studios,  he  has  devoted  himself  to  land- 
scape, and  adopted  a bolder  style  and  a ti’uer  scheme  of  color.  The  influ- 
ence of  French  art  is  perceptible  in  his  later  methods,  but  altogether  as 
an  influence,  and  in  no  sense  as  an  imitation,  for  in  his  works  there  is 
always  evident  a sturdy  self-assertion,  whether  in  subject  or  treatment. 
In  catching  the  gray  effects  of  brooding  skies  receding  in  diminishing 
ranks  through  an  aerial  perspective  of  great  distance  and  space,  and  giv- 
ing with  fine  feeling  the  Druid-like  spirit  of  clumps  of  sombre  russet- 
hued  cedars  moaning  by  the  granite  shore  of  old  Massachusetts,  and 
identifying  himself  with  the  mysteilous  thoughts  they  suggest,  Mr.  Gif- 
ford has  no  superior  on  this  side  of  the  Atlantic.  As  a professor  in  the 
Cooper  Institute,  his  influence  is  of  great  importance  to  the  future  of 
American  pictorial  art. 

George  Inness  is  another  painter  who,  although  without  training  in 
foreign  studios,  should  be  included  with  the  artists  just  named,  whose 
sympathies  have  gradually  led  him  to  exenqflify  in  his  works  some  of  the 
most  characteristic  traits  of  later  Continental  methods.  At  first  his  style 
was  not  unlike  the  prevailing  style  of  our  middle  school  of  landscape- 


PRESENT  TENDENCIES  OF  AMERICAN  ART. 


191 


painting  ; like  that,  giving  careful  attention  to  the  reproduction  of  details. 
But  his  emotional  nature,  and  intense  reflection  npon  the  philosophical 
principles  of  art,  gradually  led  him  to  a broader  style  and  a more  free  ex- 
pression of  the  truths  of  nature,  dealing  with  masses  rather  than  with  de- 
tails, and  handling  his  subjects  — especially  atmospheric  effects  — with  a 
daring  and  an  insight  that  has  never  been  surpassed  in  our  landscape  art. 
To  these  he  has  added  a feeling  for  light  and  color  that  place  him,  at  his 
best,  among  the  masters  of  the  art.  But  there  is  inequality  in  his  works. 


MOONLIGHT. [JOHN  J.  ENNEKING.] 


and  sometimes  a conflict  of  styles,  as  when  he  dashes  off  a composition, 
in  two  or  three  sittings,  that  is  full  of  fire  and  suggestion  ; and  then,  per- 
haps with  a relic  of  his  first  method  still  lingering  in  his  memory  like  a 
habit,  goes  over  it  4gain,  and  smooths  away  some  of  those  bold  touches 
which,  to  an  imaginative  observer,  gave  it  additional  force. 

In  his  latest  works  Mr.  Inness  has  shown  a disposition  to  yield  more 


192 


ART  IN  AMERICA. 


and  more  to  a style  at  present  called  impressionist  Impressionism  pure 
and  simple,  as  represented  by  its  most  extravagant  supporters,  is  like  tryins; 
to  represent  the  son!  Avithont  tlie  body.  This  may  be  well  enough  in  an- 
other world  ; but  in  this  a material  body  is  needed  to  give  it  support.  But, 


“having  a good  time.'’ — [louis  c.  tiffany.] 


pldlosopbically  considered,  there  is  no  question  that  impressionism — or  the 
attempt  to  represent  nature  according  to  the  impressions  it  makes  upon 
the  mind’s  eye,  ratlier  than  the  mere  reflections  left  on  the  material  eye — 
undoubtedly  pi'csents  the  quintessence  of  the  spirit  of  art;  and  therefore 
all  good  art  must  have  in  it  more  or  less  evidence  of  subjective  influence. 
But  just  so  long  as  art  finds  expression  with  material  means,  the  artist 
must  make  concessions  to  the  limitations  of  substance.  Natm-ally,  of  all 
the  arts,  music  comes  nearest  to  the  ideal  XAddch  tlie  impressionist  is  seek- 
ing to  gi’asp. 

It  is  useless  to  deny  that,  extravagant  as  some  of  the  works  of  the  con- 
temporary impressionists  appear  to  mainy  they  undoubtedly  pi'esent  a keen 
appreciation  of  aeihd  chromatic  effects,  and  for  this  reason  are  worthy  of 
careful  attention.  That  they  are  not  carried  nearer  to  completion,  liow- 
ever,  indicates  a consciousness  on  the  part  of  the  artist  that  he  is  as  yet 
unable  to  harmonize  the  objective  and  subjective,  the  material  and  the 
spiritual  pliases  of  art.  A perfect  Avork  of  art  combines  the  two;  but, 
alas!  such  achievements  are  as  yet  j’are,  although  that  is  the  ideal  which 
the  artist  should  keep  in  vieAV.  The  artist  Avho  gives  ns  wliat  is  called  a 


PRESENT  TENDENCIES  OF  AMERICAN  ART. 


193 


finislied  painting  is  so  far  riglit.  lie  represents  what  appears  to  the  mate- 
rial eye.  In  proportion  as  lie  combines  with  this  a suggestion  of  the  intel- 
lectual impression  also  made  on  his  mental  vision,  he  approaches  the  ideal 
in  art  execution.  On  the  other  hand,  the  artist  who  is  impatient  of  details, 
and  deals  wholly  with  a broad,  and  sometimes,  we  regret  to  say,  dauby  and 
slovenly  interpretation  of  nature,  is  yet  so  far  right,  because  he  is  endeavor- 
ing to  interpret  the  wholly  imaginative  and  intellectual  side  of  art.  When 
to  this  bias  he  adds  the  balance  of  power  which  enables  him  to  give  some- 
thing of  the  other  phase  of  art,  he  in  turn  approaches  the  ideal  aim  of  art. 
Turner  was  an  impressionist;  so  was  Corot;  so,  to  go  farther  back,  was  Ve- 
lasquez ; so,  also,  are  the  Japanese.  But  these  artists,  especially  Turner 
and  Velasquez,  had  the  supreme  faculty  of  uniting  the  two  opposite  poles 
in  art  in  their  best  works,  and  hence  the  commanding  position  which  they 
hold,  and  always  will  hold,  in  the  art  world. 


SOUTHAMPTON,  LONG  ISLAND. [c.  H.  MILLER.] 

So  far  as  can  be  ascertained,  it  is  to  the  late  William  M.  Hunt  that  we 
must  ascribe  the  initiation  of  the  third  period  in  our  pictorial  art,  and  per- 
haps, in  a secondary  manner,  the  general  impulse  toward  foi’eign  styles 
now  modifying  thaarts  of  design  in  this  country.  When  Mr.  Hunt  went 
to  Diisseldorf  to  study,  in  1846,  he  did  no  more  than  many  of  our  artists 
had  already  done.  But  when,  dissatisfied  with  the  conventionalism  of  that 

13 


ART  IN  AMERICA. 


li)T 

school,  he  turned  his  steps  to  Paris,  and  became  a pupil  of  Couture,  and 
was  one  of  the  first  to  discover,  to  admire,  and  to  emulate  the  art  methods 
of  Millet,  then,  unconsciously,  he  became  a power,  destined  by  his  some- 
what narrow  but  intense  personality  to  intiiience  the  destinies  of  our  art — 
especially  by  returning  to  Boston,  a city  easily  brought  under  the  magnet- 
ism of  a strong  individuality,  and  more  ready  than  any  otlier  city  in  the 
land  to  surrender  the  guidance  of  its  opinions  to  those  whom  it  conde- 
scends to  admire. 

The  going  of  Mr.  Hunt  to  Paris  meant  that  teclniical  knowledge  and 
the  perception  of  the  underlying  principles  of  art  were  now,  as  never 
befoi-e,  to  be  systematically  mastered  and  imported  to  America  by  our 
artists,  together  with  the  most  advanced  theories,  truths,  or  discoveries  in 
the  technical  part  of  tlie  subject.  It  did  not  mean  that  all  our  artists 
who  went  abroad  to  study  would  necessarily  be  great,  or  that  any  of  them 
wonld  be  especially  original,  but  that  there  would  be  a general  harmony 
of  action  towaixl  improving  the  means  of  art  education  in  America.  Pe- 
£>’arded  in  this  liMit,  Mr.  Hunt  must  be  considered  to  have  been  a most 
important  promoter  of  tbe  development  of  art  in  America.  He  was  prob- 
ably not  a man  of  genius — unless  great  force  of  character  be  considered 
as  such — but  he  had  a true  perception  of  the  character  and  aims,  the  lim- 
itations and  possibilities  of  art;  and  the  intolei’ance  he  sometimes  exhib- 
ited was  not  unusual  in  those  who  are  introducing  new  methods,  and  have 
to  create  a circle  of  influence.  In  his  own  works,  as  a landscape,  portrait, 
genre,  and  decorative  painter,  it  cannot  be  said  that  he  added  greatly  to 
the  sum  of  the  Avorld’s  art  by  anything  strikingly  original;  but  he  exhib- 
ited a true  perception  of  the  importance  of  the  ideal  in  art;  and  one  feels, 
in  contemplating  his  works,  that  he  was  ever  striving  to  overcome  the  diffi- 
culties of  material  means  of  expressing  the  ideal.  Moved,  like  most  lead- 
ing American  painters,  by  a feeling  for  color  rather  than  for  form,  yet,  in 
such  compositions  as  “The  Bathers,”  representing  a boy  about  to  dive 
from  the  shoulders  of  another,  who  is  half  immersed  in  a pool,  vanish- 
ing into  the  green  gloom  of  the  wooded  banks,  we  have  an  admirable 
example  of  the  manner  in  whicli  this  artist  sometimes  combined  form, 
chiaro-oscuro,  and  color,  with  a delicacy,  force,  and  suggestion  of  outline 
and  tint,  to  a degree  rarely  ecpialled  before  by  American  art;  with  a 
technique  essentially  that  of  the  later  French  school,  yet  modified  by  indi- 
vidual feeling. 


PRESENT  TENDENCIES  OF  AMERICAN  ART. 


195 


But  the  life-work  of  Mr.  limit  was,  after  all,  not  more  in  his  paintings 
than  in  that  influence  which  he  gathered  about  him  a school  of  admir- 
ers and  disciples  who  disseminated  his  opinions  and  imitated  his  style, 
although  rarely  with  his  success.  Among  those  who  directly  profited  by 
his  style  and  influence  may  be  mentioned  Mrs.  Darrah,  who  effectively 
paints  gray  coast  scenes  and  landscapes  in  a low,  minor  key ; Miss  Helen 


A STUDY. [l-’REDERICK  DIELMAN.] 


M.  Knowlton  ; Miss  Bartol ; F.  P.  Yinton;  and  S.  S.  Tuckerman,  the  ma- 
rine painter. 

The  power  of  Mr.  Hunt  was  still  more  widely  felt  in  directing  a 
large  number  of  young  art- students  to  visit  Paris,  and  eventually  also 
Munich,  at  each  of  which  the  tendency  has  been  for  some  years  toward 
bolder  methods  in  the  technics  of  art.  The  result  has  lieen  to  introduce  to 
this  country  a truer  perception  of  the  vital  importance  of  style  in  the  pres- 
ent stage  of  our  art,  and  to  emphasize  the  truth  that  he  who  has  anything 


196 


ART  IN  AMERICA. 


to  say  will  make  it  inncli  more  effective  if  he  knows  how  to  give  it  ade- 
quate utterance. 

Of  the  many  Boston  artists  who  have  profited  by  foreign  study  and 
are  now  resident  in  that  city,  we  can  mention  but  three  or  four.  John  J. 
Enneking,  a graduate  of  the  studios  of  Munich  and  Baris,  can  hardly  be 
called  an  idealist.  There  is  little  evidence  of  imagination  in  his  canvases ; 
but  in  seizin the  effects  of  tlie  brilliant  liohts  of  sunset,  or  the  varied 
grays  of  a lowering  sky  on  a cloudy  day,  he  shows  himself  equally  happy 
in  (^(Aoy^  chiaro-oscuro,  technical  skill  in  handling  pigments.  His  ver- 
satility is  remarkable.  lie  can  render  the  figure  from  life  with  a vigor 
and  freshness  scarcely  less  than  that  of  his  landscapes.  There  is,  unfortu- 
nately, an  evidence  of  haste  in  too  many  of  his  works,  which  cannot  be 
too  much  regretted,  for  he  thus  fails  to  do  justice  to  the  very  decided  abil- 
ity he  possesses.  Having  studied  both  in  Munich  and  Paris,  and  given 
careful  attention  to  all  the  European  schools  of  art,  and  adding  to  this 
knowledge  sturdy  independence  of  opinion  and  great  earnestness  and  en- 
ergjq  Mr.  Enneking  ought  to  be  strongly  influential  in  the  present  stage  of 
American  art. 

AVe  find  much  that  is  interesting  in  the  paintings  of  E.  L.  AYeeks. 
They  are  marked  by  a powerful  individuality,  wliicli  delights  in  glowing 
effects  of  light,  and  revels  in  the  brilliant  coloring  of  tropical  scenery  or 
the  varied  S|)lendor  of  Oriental  architecture  and  costumes.  Thei’e  is  some- 
thing Byronic  in  the  fervor  of  this  artist’s  enthusiasm  for  the  East,  and  the 
easy  adaptability  that  has  enabled  a son  of  New  England  to  identify  him- 
self with  the  life  and  scenery  of  lands  so  exactly  the  opposite  of  his  own. 
Although  a pupil  of  Bonnat,  and  an  ardent  admirer  of  the  excessive  real- 
ism now  affected  by  some  of  the  followers  of  the  later  French  school,  Mr. 
AYeeks  is,  in  spite  of  himself,  an  idealist,  and  no  imitator  of  any  style. 
This  has,  perhaps,  been  an  injury  to  him,  for  he  finds  difficulty  in  master- 
ing the  technical  or  mechanical  problems  of  his  profession.  A lack  of 
knowledge  or  feeling  for  form,  a weakness  in  drawing  which  is  too  often 
perceptible  in  his  works,  and  sometimes  an  apparent  opaqueness  in  his 
pigments,  impair  the  quality  of  compositions  which  are  inspired  by  the 
fire  of  genius. 

J.  M.  Stone,  who  is  one  of  the  professors  at  the  Museum  of  Fine  Arts, 
and  a graduate  of  the  Munich  schools,  indicates  considerable  force  in  ren- 
dering the  figure,  both  in  color  and  drawing,  and  a touch  of  genius  in  the 


THE  BUllGOMASTEU.” — [iL  MIIIUMAN.] 


PKESE^sT  TEJsDE:JsCIES  OF  AMEEICAX  AKT. 


199 


painting’  of  dogs  and  horses.  Ilis  service  in  the  army  during  tlie  war 
intensified  his  interest  in  equine  art,  and  will  probably  result  in  important 
compositions  suggested  by  that  confiict.  C.  R,  Grant  has  a delicate  poetic 
feeling  for  color  and  form,  and  a pleasant  fancy  tinged  with  quaintness; 
and  in  his  choice  of  treatment  and  subject  suggests  the  works  of  G.  II. 
Eoughton.  In  T.  A\b  Dewing,  a pupil  of  Lefevre,  who  has  recently  settled 
in  Boston,  we  find  much  promise  in  figure-painting,  but  altogether  after 
the  clear-cut,  well-drawn,  but  somewhat  dry  method  of  Gerome. 

J.  Foxcroft  Cole,  who  has  been  a careful  student  of  tlie  best  phases 
of  French  landscape  art,  but  has  formed,  at  the  same  time,  a sufiiciently 
individual  style  of  his  own,  is  an  artist  whose  works  command  a growing 
esteem.  Althongh  adding  groups  of  cattle  to  his  compositions,  he  is  es- 
sentially a landscape-painter.  We  receive  from  a study  of  his  works  an 
impression  of  sameness,  like  that  conveyed  by  the  landscapes  of  Corot, 
chiefiy  because  they  are  generally  on  one  key,  and  refer  to  a class  of 
subjects  so  quiet  and  undemonstrative  that  only  he  who  observes  them 
repeatedly  and  reflectively  discovers  that  each  work  is  the  result  of  a dis- 
tinct inspiration,  and  possesses  suggestions  and  qualities  of  its  own.  Ex- 
quisite feeling  for  space  and  atmosphere,  for  the  peaceful  effects  of  pas- 
toral life,  and  the  more  subtle  aspects  of  nature,  especially  in  color,  are  the 
characteristics  of  the  style  of  Mr.  Cole. 

In  reviewing  the  Boston  school,  we  note  in  its  development  much  ac- 
tivity and  earnestness,  too  often  combined,  however,  with  crudeness  ; while 
the  foreign  influence  that  is,  on  the  wliole,  most  evident  in  it  is  that  of  the 
contemporary  French  school.  As  Boston  is  intense  rather  than  broad  in 
its  intellectual  traits,  and  is  inclined  to  follow  the  lead  of  its  own  first 
thinkers  and  artists,  it  is  the  more  unfortunate  that  one  influence  should 
predominate,  because  in  such  a case  the  errors  as  well  as  the  good  quali- 
ties of  a style  are  liable  to  receive  too  much  attention  ; while  free  growth 
depends  on  the  catholic  eclecticism  which  supplements  the  stud}^  of  nature 
by  culling  the  good  from  diffei’ent  scliools,  and  (!orrecting  one  by  compar- 
ison with  another,  thus  enabling  the  artist  to  arrive  at  a more  just  and 
profound  view  of  a question  that  proceeds  upon  irreversible  laws.  The 
mind  thus  educated  learns  by  balancing  the  merits  of  different  schools, 
and  the  results  are  hot  so  much  imitation  as  assimilation,  yielding  healthy 
growth  and  developmento 

In  Isew  York  there  seems  to  be,  with  no  less  activity  than  that  of 


200 


ART  IN  AMERICA. 


Boston,  an  art  movement  wliicli  is  based  on  broader  grounds,  and  offers 
more  encoiirao^ement  for  the  future  of  onr  art.  The  ai-tists  who  ai-e  the 
most  influential  in  this  advance  are  more  equally  divided  between  the 
French  and  the  German  scliools  than  those  of  Boston,  and  indicate  more 
breadth  of  sympathy  and  art  cnltnre,  together  with  a cosmopolitan  love 
for  the  good  in  the  art  of  all  scliools,  which  is  one  of  the  most  encouraging 


BURIAL  OP  THE  DEAD  BIRD.” [j.  ALDEN  ’WIER.] 


of  signs  in  a dawning  intellectnal  reform.  So  decided  had  the  tendency 
toward  ]\Iimich  become  soon  after  1870,  that  the  colony  of  American  art 
students  in  Mnnich  soon  grew  sufficiently  large  to  establish  an  art  associa- 
tion, having  stated  days  of  meeting,  at  which  contributed  paintings  were 
exhibited  and  discussed,  and  carefully  prepared  papers  on  art  topics  were 
read.  Opinions  were  exchanged  in  this  manly,  earnest,  sympathetic  man- 


THE  AmiENTICE.” — [wiLLIAM  M.  CllAEE.J 


PEESEXT  TENDENCIES  OF  AMERICAN  ART. 


203 


ner,  and  breadth  and  catholicity  were  reached  in  the  consideration  of  the 
great  question  in  whicli  all  were  so  profoundly  interested.  Thus  were 
gained  many  of  the  influences  which  are  destined  to  affect  American  art 
for  ages  to  come. 

The  writer  regards  as  among  the  most  improving  and  delightful  even- 
ings he  has  enjoyed  those  passed  with  some  of  these  talented  and  enthu- 
siastic art  students  at  the  table  where  a number  regularly  met  to  dine — 
at  the  Max  Emanuel  cafe  in  Munich.  Dinner  over,  huge  flagons  of  beer 
were  placed  before  each  one,  and  pipes  were  lit,  whose  wreaths  of  upward- 
curling  smoke  softened  the  gleam  of  the  candles,  and  gave  a poetic  haze  to 
the  dim  nooks  of  the  hall  that  was  highly  congenial  to  the  hour  and  the 
topics  discussed.  The  leonine  head  of  Duveneck,  massively  set  on  his  bi'oad 
shoulders,  as  from  time  to  time  behind  a cloud  of  smoke  he  gave  forth  an 
opinion,  lent  much  dignity  to  the  scene ; while  the  grave,  thoughtful  feat- 
ures of  Shirlaw,  and  the  dreamy,  contemplative  face  of  Chase,  occasionally 
lit  by  a flash  of  impetuous  emotion,  aided  by  an  eloquent  gesture,  made 
the  occasion  one  of  great  interest.  Others  there  were  around  the  board 
whose  sallies  of  humor  or  weighty  expi-essions  of  opinion  made  an  indeli- 
ble impression. 

Among  the  resident  artists  of  Aew  York  who  have  recently  studied 
abroad,  Louis  C.  Tiffany,  a follower  of  the  French  school,  holds  a promi- 
nent position.  lie  has  done  some  very  clever  things  in  landscape  and 
genre  from  subjects  suggested  by  his  trip  to  the  East,  and  has  succeeded 
equally  in  oil  and  water  coloi’S,  and  is  now  giving  a preference  to  Ameri- 
can subjects,  and  also  turning  his  attention  to  the  pursuit  of  decorative 
art.  lie  is  essentially  a colorist,  to  whom  the  radiant  tints  of  the  iris  seem 
like  harmoniousl}^  chorded  strains  of  music.  AVilliam  Sartain,  a pupil  of 
Bonnat  and  Yvon,  has  also  proved  himself  an  excellent  colorist,  and  shows 
vigor  and  truth  of  drawing  both  in  flgnre  and  architectural  perspective,  as 
well  as  pleasing  composition  in  work  which  he  has  done  abi’oad. 

The  new  phase  into  which  our  landscape  art  is  ])assing  under  foreign 
influence  is  well  indicated  by  the  paintings  of  Charles  Miller,  a graduate 
of  the  Munich  school,  who  is  inspired  by  a stinlng,  breezy  love  for  nature, 
especially  for  her  more  intense  and  vivid  effects,  strong  contrasts  of  light 
and  shade,  glowing’- sunsets,  and  masses  of  dun  gray  clouds  rolling  up  in 
thunderous  majesty  and  gloom  over  landscapes  fading  off  into  the  intinite 
distance.  As  a drauMitsman  Mr.  Miller  is  less  interesting  than  in  render- 

o o 


204: 


ART  IN  AMERICA. 


ing  such  effects  as  we  have  suggested  with  broad,  free  haudllug,  iu  which 
lie  is  often  very  successful,  lie  is  a poet  moved  by  a powerful  imagina- 
tion, idealizing  what  he  sees,  aud  possessed  of  a memory  similar  to  that  of 
Turner;  and  thus  some  of  his  most  striking  canvases  are  the  result  of  a 
tenacious  memory  allied  to  a vigorous  observation.  Some  of  his  canvases 
suggest  the  landscapes  of  Constable. 


“THE  PliOEESSOR.” — [tUOMAS  EAKINS.] 

Frederick  Dielman,who  has  pursued  his  studies  in  Munich,  is  destined 
to  make  his  mark  in  genre.  In  color  and  tone,  and  especially  in  draw- 
ing, he  has  already  shown  decided  ability,  and  some  of  his  compositions 
are  very  promising.  Messrs.  Weir  and  Muhrman,  both  young  artists  of 
much  promise,  and  both  figure -painters,  represent  the  influence  of  two 
different  schools.  The  former  comes  from  an  artistic  family,  his  father 
being  Robert  W.  Weir,  one  of  our  oldest  painters.  Young  J.  Alden  Weir 
studied  in  Paris.  In  portraiture  he  has  a remarkable  faculty  for  seizing 


THE  GiOOSE-HEKD.” [WALTEU  SHlltLAW.] 


PRESENT  TENDENCIES  OF  AMERICAN  ART. 


207 


character,  painting  the  eye  witli  a trnth  and  life  wholly  original.  In  genre 
lie  is  sometimes  cpiite  successful,  although  inclined  to  mannerism.  Mr. 
Mnhrmaii  is  from  Cincinnati,  and  has  spent  two  years  in  Munich.  AVhile 
there,  he  placed  himself  under  no  master,  but  observed  keenly,  and  de- 
voted himself  wholly  to  water-colors.  Avoiding  the  use  of  body  color, 
he  yet  shows  dash  and  originality  in  technicpie,  and  a line  eye  for  form 
and  color.  The  realistic  vigor  of  his  work  is  cpiite  exceptional  among 
our  water- color  painters.  The  brilliance  and  purity  of  his  colors,  and 
the  delicious  abandon  with  which  he  handles  the  brush  to  such  admirable 
result,  seem  to  promise  that  he  will  become  a master  in  this  art.  Frank 
Waller,  AYyatt  Eaton,  W.  A.  Low,  A.  P.  Pyder,  J.  II,  Twachtman,  J.  C. 
Beckwith,  A.  F.  Bnnner,  Miss  Helena  De  Kay,  and  Miss  M.  B.  Oakey  are 
among  the  leading  artists  who  are  aiding  the  new  art  movement  in  Kew 
York. 

But  among  the  later  influences  which  have  entered  into  our  art  and 
promise  striking  results,  there  is  none  more  worthy  of  our  consideration 
than  the  return  of  Messrs.  Shirlaw  and  Chase  from  a thorough  course  of 
study  in  Germany.  One  of  the  points  of  most  importance  in  this  connec- 
tion is  that  whereas  our  art  for  the  last  thirty  }’ears  has  been  in  the  direc- 
tion of  landscape,  its  tendencies  are  now  rather  toward  the  painting  of 
the  figure,  and  this  is  strikingly  illustrated  by  the  circumstance  that  both 
of  these  artists  have  done  their  strongest  work  in  this  department,  and 
their  influence  will  undoubtedly  give  a fresh  impulse  to  figure-painting. 
Mr.  Shirlaw  was  for  a year  professor  in  the  Students’ League,  but  has  now 
abandoned  teaching  in  order  that  nothing  may  interfere  with  original 
work.  Trained  in  the  school  which  has  produced  such  artists  as  Defreg- 
ger,  Diez,  Braith,  and  Brandt,  he  has  mastered  all  the  technical  knowledge 
which  Munich  can  give  an  artist  in  genre  in  our  day.  There  is  no  un- 
certainty or  weakness  in  his  method  of  handling  color;  his  lines  are  clear- 
ly and  carefully  drawn,  and  he  undoubtedly  achieves  excellent  results 
when  he  attempts  simple  compositions.  One  of  Mr.  Shirlaw’s  best  known 
compositions,  representing  a sheep* shearing  in  Bavaria,  has  attracted  fa- 
vorable attention  at  'home  and  abroad.  In  compositions  which  include 
animals,  dogs,  and  birds,  he  has  been  especially  happy.  His  inclinations 
to  delineate  the  characteristics  of  bird-life  are  akin  to  those  of  the  artists 
of  Japan. 

The  genius  of  Mr.  Chase  is  rather  for  single  ligures  than  elaborate 


208 


ART  IN  AMERICA. 


compositions ; and  liis  independence  of  action  is  shown  by  the  fact  that, 
althougli  he  studied  witli  Piloty,  the  master  whom  he  made  his  model  of 
excellence  was  Velasquez.  A noble  sense  of  color  is  perceptible  in  all  his 
works,  whether  in  the  subtle  elusive  tints  of  flesh,  or  in  the  powerful 


“ A SPANISH  LADY.” [mISS  MARY  S.  CASSATT.] 


rendering  of  a mass  of  scarlet,  as  in  his  notable  painting  of  the  “ Court 
Jester.”  In  the  painting  of  a portrait  he  endeavors,  sometimes  very  suc- 
cessfully, to  seize  character,  although  occasionally  rather  too  impressionist 
in  style.  Ills  art-life  is  fired  by  a lively  enthusiasm,  which  must  result  in 
genuine  and  exalted  art.  ‘‘Waiting  for  the  Pide”  is  a fine,  thoughtful 
ideal  figure  of  a lady  by  this  artist. 

In  Philadelphia  the  new  movement  has  some  powerful  allies,  among 
Avhom  should  be  prominently  mentioned  Thomas  Eakins,  a pupil  of  Ge- 
rbme,  and  at  present  professor  in  the  Philadelphia  Academy  of  Art.  One 
of  Mr.  Eakins’s  most  ambitious  paintings  represents  a surgical  operation 
before  a class  in  anatomy.  It  is  characterized  by  so  many  excellent  ar- 
tistic qualities,  that  one  regrets  that  the  work  as  a whole  fails  to  satisfy. 
Admirable  draughtsman  as  this  painter  is,  one  is  surprised  that  in  the 


PRESENT  TENDENCIES  OF  AMERICAN  ART. 


209 


arraiigemeiit  of  the  figures  the  perspective  should  have  been  so  ineffective 
that  the  motlier  is  altogether  too  small  for  the  rest  of  the  group,  and  the 
figure  of  the  patient  so  indistinct  that  it  is  difficult  to  tell  exactly  the  part 
of  the  body  upon  which  the  surgeon  is  performing  the  operation.  The 
monochromatic  tone  of  the  composition  is,  perhaps,  intentional,  in  order  to 
concentrate  the  effect  on  the  bloody  thigh  and  the  crimson  finger  of  the 
operating  professor.  But  as  it  is,  the  attention  is  at  once  and  so  entirely 
directed  on  that  reeking  hand  as  to  convey  the  impression  that  such  con- 


STUDY  OF  A boy’s  HEAD. — [w.  SARTAIN.] 

centration  was  the  sole  purpose  of  the  painting.  In  similar  paintings  by 
Bibeira,  Begnault,  and  other  artists  of  tlie  horrible,  as  vivid  a result  is 
obtained  without  sacrificing  the  light  and  color  in  the  other  jmrts  of  the 
picture ; and  the  effect,  while  no  less  intense,  is,  therefore,  less  staring  and 

U 


210 


ART  IN  AMERICA. 


loud.  As  to  the  propriety  of  introducing  into  our  art  a class  of  subjects 
hitherto  confined  to  a few  of  the  more  brutal  ailists  and  races  of  tlie  Old 
World,  the  question  may  well  be  left  to  the  decision  of  the  public.  In 
color  Mr.  Eakins  effects  a low  tone  that  is  sometimes  almost  monochro- 
matic, but  has  very  few  equals  in  the  country  in  drawing  of  the  figure. 
Some  of  his  portraits  ai‘e  strongly  characteristic,  and  give  remarkable 
promise.  Miss  Emily  Sartain  is  devoting  herself  with  good  success  to 
genre  and  porti’aiture ; and  Miss  Mary  Cassatt  merits  more  extended  notice 
and  earnest  praise  for  the  glory  of  color  and  the  superb  treatment  and 
composition  of  some  of  her  works. 

A¥hen  we  review  the  various  forces  now  actively  at  work  to  hasten 
forward  the  progress  of  American  art,  we  see  that  they  are,  with  one  or 
two  exceptions,  still  immature;  while,  on  the  other  hand,  the  sum  of  their 
influence  is  such  as  to  prove  that  they  are  already  sufficiently  well  estab- 
lished to  give  abundant  promise  of  vitality,  and  of  a career  of  success  that 
seems  destined  to  carry  the  arts  to  a degree  of  excellence  never  befoi-e 
seen  in  America.  While  the  ideal  is  a more  prominent  feature  of  our  art 
than  formerly,  the  tide  also  sets  strongly  toward  realism,  together  with  a 
clearer  practical  knowledge  of  technique.  And  while  we  do  not  discover 
marked  original  power  in  the  artists  who  represent  the  new  movement, 
we  find  in  them  a self-reliance  and  a sturdiness  of  purpose  which  renders 
them  potential  in  establishing  the  end  they  have  in  view.  It  is  to  their 
successors  that  we  must  look  for  the  founding  of  a school  that  sliall  be  at 
once  native  in  origin,  and  powerful  in  the  employment  of  the  material  to 
express  the  ideal. 


INDEX 


Abbey,  E.  A.,  111. 

Academy  of  Fine  Arts  (of  New  York),  24. 

Akers,  Benjamin  Paul,  151. 

Alexander,  Cosmo,  16,  24. 

Alexander,  Francis,  49. 

Allston,  Washington,  16,  29,  31,  44,  47. 

American  Art  Students’  Association,  Munich, 


200. 

Ames,  Joseph,  49. 

Andrew,  John,  168. 

Annin,  P.,  168. 

Anthony,  A.Y.  S.,  168. 
Architecture,  178. 

Art  Education,  186. 

Artists’  Funding  Society,  88. 
Artists’  League,  186. 
Athenseum,  Providence,  31. 
Augur,  Hezekiah,  138. 

Bacon,  Henry,  7. 

Baker,  George  A.,  49. 

Ball,  Thomas,  149,  150. 
Bannister,  E.  M.,  106,  190. 
Barry,  Charles  A.,  174. 
Bartholomew,  Edward  S.,  152. 
Bartol,  E.  H.,  195. 

Beard,  James,  86. 

Beard,  William  H.,  86. 
Beckwith,  J.  C.,  207. 

Bellew,  Frank  H.  T.,  177. 
Bellows,  A.  F.,  79. 

Bensell,  E.  B.,  174. 

Benson,  Eugene,  7. 

Berkeley,  Bishop,  15,  17. 
Bierstadt,  Albert,  97. 

Birch,  Thomas,  37. 

Bishop,  Annette,  174. 
Bispham,  Henry  C.,  86. 


Blackburn,  16. 

Blashfield,  Edwin  H.,  7. 

Blauvelt,  C.  F.,  115. 

Boutelle,  D.  W.  C.,  106. 

Bowdoin  College,  paintings  of,  47. 
Brackett,  Walter  M.,  85. 

Bradford,  William,  84. 

Bricher,  A.  T.,  111. 

Bridgman,  Fi’ederick  A.,  7. 
Bridges,  Fidelia,  131. 

Bristol,  John  B.,  76. 

Brown,  George  L.,  64. 

Brown,  Harry,  84. 

Brown,  J.  Appleton,  106. 

Brown,  J.  G.,  115. 

Brown,  J.  H.,  167. 

Brown,  J.  Ogden,  131. 

Browne,  Henry  K.,  149. 

Brumidi,  M.,  185. 

Bunner,  A.  F.,  207. 

Burling,  Gilbert,  112. 

Burns,  J.,  115. 

Calverly,  Charles,  156. 

Casilear,  John  W.,  73. 

Cassatt,  Mary,  210. 

Catlin,  George,  88. 

Champney,  J.  W.,  113. 

Chapman,  J.  G.,  88. 

Chase,  William  M.,  203,  207. 
Church,  Frederick  E.,  81. 

Church,  F.  S.,  174. 

Cincinnati,  Music  Hall  of,  163. 
Clevenger,  Shobal  Tail,  138,  145. 
Close,  A.  P.,  104. 

Cobb,  Darius,  125. 

Cole,  J.,  168. 

Cole,  J.  Foxcroft,  199. 


212 


INDEX. 


Cole,  Thomas,  47,  66. 

Conant,  Conielia  W.,  7. 

Colmaii,  Samuel,  79,  112,  190. 

Copley,  John  Singleton,  16,  17,  88,  138,  164. 
Cooper  Institute,  186. 

Cranch,  Christopher  P.,  76. 

Crawford,  Thomas,  138,  145,  149. 

Cropsey,  Jasper  F.,  76. 

Cummings,  T.  S.,  167. 

Curtis,  Jessie,  172. 

Cusack,  S.,  177. 

Custer,  E.  L.,  125. 

Dana,  W.  P.  W.,  7. 

Dana,  William  J.,  168. 

Darley,  Felix  0.  C.,  171. 

Darrah,  Mrs.  S.  T.,  195. 

Davis,  J.  P.,  168. 

Davis,  T.  R.,  174. 

Davidson,  Julian  0.,  174. 

Deas,  Charles,  88. 

Decorative  Art,  186. 

De  Haas,  M.  F.  II.,  109. 

De  Kay,  Helena,  207. 

Dengler,  Frank,  161. 

Dewing,  T.  W.,  199. 

Dexter,  Henry,  156. 

Dielman,  Frederick,  204. 

Dillon,  Julia,  133. 

Dix,  Charles  Temple,  84. 

Dolph,  J.  H.,  131. 

Doughty,  Thonias,  47,  56,  59,  66. 

Drowiie,  Shem,  14,  37,  136. 

Dunlap,  William,  18. 

Durand,  Asher  B.,  47,  56,  59,  66,  167. 
Duveneck,  F.,  7,  203. 


Eakins,  Thomas,  208. 

Eaton,  Wyatt,  207. 

Edmonds,  F.  W.,  52. 

Ehninger,  John  W.,  115. 
Elliott,  Charles  Boring,  49,  50. 
Enneking,  John  J.,  196. 
Eytinge,  Sol,  174. 

Ezekiel,  Moses  J.,  156. 

Falconer,  John  M.,  112. 
Farrai’,  Henry,  113. 

Fassett,  Mrs.  C.  A.,  127. 

Feke,  Robert,  16. 

Fenn,  Harry,  172. 

Flagg,  George  B.,  87. 


Foote,  Mrs.  Mary  Halleck,  172. 
Fraser,  John,  31,  56,  167. 
Frazee,  John,  136,  138. 
Fredericks,  Alfred,  172. 
Freeman,  Mrs.  J.  E.,  156. 
French,  Daniel  C.,  161. 

Frost,  Arthur  B.,  174. 
Frothingham,  James,  27. 
Fuller,  George,  117. 

Fuller,  R.  IB,  76. 

Furness,  William  Henry,  125. 

Gardner,  Elizabeth  B,  7. 

Gaul,  Gilbert,  113. 

Gerry,  Samuel  B.,  74. 

Gibson,  W.,  177. 

Gifford,  R.  Swain,  112,  190. 
Gifford,  Sanford  R.,  80. 
Goodrich,  Sarah,  51,  167. 
Gould,  Thomas  R.,  152,  154. 
Grant,  C.  R.,  199. 

Greenough,  Horatio,  138,  142. 
Greenough,  Richard,  156. 

Grey,  Henry  Peters,  51. 

Grey,  Mrs.  Henry  Peters,  125. 
Grosjean,  Charles  T.,  186. 

Guy,  S.  J.,  115. 

Hale,  Susan,  113. 

Hall,  Mrs.,  167. 

Hall,  George  IB,  133. 
Hamilton,  James,  71,  84. 
Harding,  Chester,  47,  49. 

Hart,  James,  79,  130. 

Hart,  William,  79. 

Hart,  Joel  T.,  138,  145. 
Hartley,  J.  S.,  161. 

Haseltine,  H.  J.,  156. 

Hayes,  William,  85. 

Heade,  M.  J.,  133. 

Healy,  G.  P.  A.,  49. 

Henry,  E.  B.,  115. 

Henshaw,  Mrs.,  133. 

Hicks,  Thomas,  49,  86. 

Hill,  Thomas,  97,  98. 

Hinckley,  T.  IB,  85. 

Homer,  Winslow,  117,  190. 
Hoppin,  Augustus,  172. 
Hoskin,  Robert,  168. 

Hosmer,  Harriet,  152,  156. 
Howland,  A.  C.,  115. 

Hubbard,  R.  W.,  74. 


INDEX. 


218 


Humphrey,  L.  B.,  172. 

Hunt,  William  M.,  49,  185,  19-3. 
Huntington,  Daniel,  49,  51,  88. 

Impressionism  in  Art,  192. 
Ingham,  C.  C.,  49. 

Inman,  Henry,  49,  51. 

Illness,  George,  79,  190. 

Inness,  George,  Jun.,  131. 

Ipsen,  L.  S.,  174. 

Irving,  J.  B.,  1 13. 

Ives,  C.  B.,  156. 

Jarvis,  John  Wesley,  28,  49. 
Johnson,  David,  76. 

Johnson,  Eastman,  116,  189. 
Juengling,  F.,  168. 

Kelley,  J.  E.,  174. 

Kensett,  John  F.,  63,  76. 

Kepler,  Joseph,  177. 

Key,  John  R.,  170. 

King,  E.  S.,  168. 

Kingsley,  E.,  168. 

Knowlton,  Helen  M.,  195. 

Kreul,  G.,  168. 

Lafarge,  John,  71,  94,  133,  185. 
Lambdin,  George  C.,  133. 

Lansil,  Walter  E.,  111. 

Lathrop,  Francis,  96,  174,  186. 
Lay,  Oliver  I.,  115. 

Le  Clear,  Thomas,  49. 

Leutze,  Emmanuel,  73,  88. 

Lewis,  Robert,  174. 

Linton,  W.  J.,  167. 

Longfellow,  Ernest,  106. 
Longworth,  Nicholas,  140. 

Loop,  Henry  A.,  125. 

Loop,  Mrs.  Henry  A.,  125. 

Low,  Will  IL,  207. 

Macdonald,  J.  W.  A.,  156. 
M‘Entee,  Jervis,  103. 

Magrath,  William,  117. 

Malbone,  Edward  G.,  31,  32,  167. 
Marsh,  Charles,  168. 

Marshall,  John,  167. 

Martin,  Homer,  106. 

Mather,  Cotton,  14.  ^ 

Maverick,  Peter,  167. 

Mayer,  B.  F.,  1 13. 


Meade,  Larkin  J.,  152, 153. 

Meeker,  J.  R.,  74. 

Mignot,  Louis  R.,  83. 

Miller,  Charles,  203. 

Millet,  Francis  D.,  7. 

Mills,  Clark,  138,  149. 

Mihnore,  Martin,  154. 

Moore,  E.  C.,  186. 

Moran,  Edward,  103. 

Moran,  Peter,  103,  130. 

Moran,  Thomas,  97,  100,  172. 

Morse,  Samuel  F.  B.,  33,  39,  51. 

Morse,  W.  H.,  168. 

Mount,  William  Sidney,  52,  86,  117. 

Muhrman,  William  H.,  207. 

Muller,  R.  A.,  168. 

Munzig,  B.  C.,  170. 

Museur^  of  Fine  Arts,  Boston,  186. 

Naegle,  John,  29. 

Nast,  Thomas,  177. 

National  Academy  of  Design,  37,  39,  49,  51,  58, 
186. 

Neal,  David,  7. 

Newton,  Gilbert  Stuart,  27. 

Nicoll,  J.  C.,  111. 

Normal  Art  School  of  Massachusetts,  186,  187. 
Norton,  William  E.,  110. 

Oakey,  Maria  R.,  207. 

O’Donovan,  W.  R.,  161. 

Page,  William,  49,  51,  90. 

Palmer,  Erastus  D.,  140,  156,  161. 

Parsons,  Charles,  112. 

Parton,  Arthur,  80. 

Parton,  Ernest,  7. 

Peale,  Charles  Wilson,  21. 

Peale,  Rembrandt,  28. 

Pelham,  20. 

Pennsylvania  Academy  of  the  Fine  Arts,  29, 
187. 

Perkins,  Charles,  1 74. 

Perring,  186. 

Petersen,  John  E.  C.,  110. 

Pope,  Alexander,  132. 

Portei’,  Benjamin  C.,  190. 

Powers,  Hiram,  138. 

Pratt,  Matthew,  16,  137. 

Pyle,  Howard,  177. 

Qdartley,  Arthur,  111. 


214 


INDEX. 


Ranney,  William  S.,  88, 

Redwood  Library,  Newport,  15. 
Reinhart,  B.  F.,  115. 

Reinhart,  C.  S.,  IV'T. 

Reynolds,  Joshua,  19. 

Richards,  T.  Addison,  174, 
Richards,  William  T.,  74. 

Rimmer,  William,  163. 

Rinehart,  William  Henry,  152,  154. 
Ritchie,  A.  H.,  167. 

Robbins,  Ellen,  133. 

Robbins,  Horace,  80. 

Roberts,  Howard,  161. 

Robinson,  Thomas,  130. 

Rogers,  Frank,  131. 

Rogers,  John,  159. 

Rogers,  Randolph,  149,  152. 
Rothermel,  Peter  F.,  88. 

Rowse,  Samuel  W.,  170. 

Rush,  William,  138. 

Ryder,  A.  P.,  207. 

St.  Gaudens,  Augustus,  163, 
Sargent,  Colonel  Henry,  28, 

Sartain,  Emily,  210, 

V Sartain,  John,  167. 

V Sartain,  William,  203. 

Satterlee,  Walter,  115. 

Seavey,  G.  W.,  133. 

Shapleigh,  F.  H.,  76. 

Shirlaw,  Walter,  174,  203,  207. 
Shurtleff,  R.  M.,  131. 

Silva,  Francis  A.,  111. 

Simmons,  Franklin,  154. 

Smilie,  George,  80. 

Sniilie,  James,  167. 

Smilie,  James,  Jun.,  80,  113. 

Smith,  Frank  Hill,  186. 

Smith,  J.  Hopkinson,  171. 

Smith,  Walter,  186. 

Smithwick  and  French,  168. 
Smybert,  John,  15,  22. 

Sonntag,  W.  L.,  79. 

Staigg,  Richard  M.,  49,  51. 
Stebbins,  Emma,  156. 

Stephens,  Louis,  172. 

Stephenson,  Peter,  156. 

Stone,  J.  M.,  196. 

Story,  George  H.,  118. 

Story,  William  W.,  152, 154. 


Stuart,  Gilbert,  17,  20,  24,  39,  47,  49,  187. 

Sully,  Thomas,  28,  49. 

Suydam,  James  A.,  73. 

Tait,  a.  F.,  132. 

Thompson,  Launt,  152,  159. 

Thompson,  Wordsworth,  128. 

Thorpe,  T.  B.,  86. 

Tiffany,  Louis  C.,  203. 

Trumbull,  Colonel  John,  17,  21,  47,  88,  130, 
136. 

Tuckerman,  S.  S.,  195. 

Twachtman,  J.  H.,  207. 

Vanderlyn,  John,  17,  29,  44. 

Vandyck,  Sir  Anthony,  14. 

Van  W'art,  Ames,  156. 

Yedder,  Elihu,  71,  94. 

Yolk,  Leo  W.,  156. 

Waldo,  Samuel,  49. 

Waller,  Frank,  207. 

Ward,  J.  Q.  A.,  149,  151. 

Warner,  Olin  M.,  161. 

Water-Color  Society,  112. 

Waterman,  Marcus,  113. 

Watson,  John,  15. 

Way,  A.  J.  H.,  133. 

Weeks,  E.  L.,  196. 

Weir,  J.  Alden,  204. 

Weir,  John  F.,  114. 

Weir,  Robert  W.,  47,  52. 

West,  Benjamin,  17,  29,  138,  142,  164. 

Whistler,  J.  A.  McN.,  7. 

Whitney,  Anne,  156. 

Whittredge,  Worthington,  73,  86. 

Wight,  Moses,  7. 

Wilkinson,  George,  186. 

Willard,  A.  W.,  114. 

Williams,  F.  D.,  76. 

Williams,  Yirgil,  115. 

Wilmarth,  Lemuel  E.,  115. 

Wolf,  H.,  168. 

Wood,  T.  W.,  114. 

Woodville,  Richard  Caton,  86. 

Wright,  Frederick  W.,  170. 

Wright,  Patience,  37,  136. 

Wyant,  A.  IL,  105,  190. 

Young,  Harvey  A.,  125. 


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